A Manual for the Learning of Traditional : Design, Development, and Effectiveness

Dissertation

Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University

By

Melinda Heather Crawford Perttu, B.S., M.A.

Graduate Program in

The Ohio State University

2011

Dissertation Committee:

Dr. Robert Gillespie, Advisor

Dr. Patricia J. Flowers

Dr. Jere Forsythe

i

Copyright by

Melinda Heather Crawford Perttu

2011

i

Abstract

Historically, the techniques and stylistic elements of traditional Scottish fiddling have been passed from teacher to student through aural tradition. The purpose of this study was to investigate the potential of a written manual and companion DVD to teach the same techniques and stylistic elements. These materials were designed to be used by classical teachers who do not have any previous fiddling background. The instructional materials were created to focus on five of the most common Scottish fiddling tune types: airs, marches, , reels, and strathspeys. Upon their completion, they were reviewed and evaluated by string pedagogues and Scottish fiddling experts.

Ten classical violin teachers participated in the study. They were individually pretested and posttested. During the pretest, they participated in a survey of their opinions about Scottish fiddling, fiddling in general, and teaching fiddling. They were also video recorded sight-reading a selection of fourteen Scottish fiddling tunes that did not appear in the instructional materials. They were then given the manual and DVD to use for one month.

At the end of the month, participants were posttested. During the posttest, they again participated in a survey of their opinions about Scottish fiddling, fiddling in general, and teaching fiddling. They were then video recorded performing the same

Scottish fiddling tunes from the pretest as well as ten tunes from the manual.

ii

The degree to which the participants demonstrated authentic Scottish techniques and stylistic elements were evaluated by Scottish fiddling experts when they reviewed the videos taken during the pretests and posttests. The judges’ scores of the subjects’ performances were analyzed, and it was found that the subjects had significantly more

Scottish techniques and stylistic elements in the posttest than in the pretest.

iii

Dedication

Dedicated to my beloved husband, Dan Perttu

iv

Acknowledgments

No man (or woman) is an island, and no doctoral student can complete a dissertation without the help and support of many people. I extend my sincere appreciation to the following:

All the violin teachers who volunteered their time to participate in this study – I can not thank you enough for your time and enthusiasm

My violin pedagogues who reviewed my manual

My “Scottish Fiddling Experts” – the hours that you spent evaluating videos can never be repaid

Jeni Squiric at The Ohio State University Statistical Consulting Service for working with me on all of the statistics

Dr. Flowers and Dr. Forsythe for all of your help and assistance

Dr. Gillespie for the unending support, help, encouragement, and guidance

My parents, Ken and Gay Crawford, for all of the late-night proofing, support and love through the many years, and for getting me into Scottish fiddling in the first place

Dan, for everything

v

Vita

June, 1996 ...... Diploma, East Allegheny High School,

North Versailles, Pennsylvania

May, 2000 ………………………………… B.S. Music Education, Duquesne University

August, 2000 to June, 2001 ……………….. Music Teacher, Calvert County Public

Schools, Maryland

August, 2001 to June, 2004 ……………... Music Teacher, Fairfax County Public

Schools, Virginia

July, 2003 …………………………………. U.S. National Scottish Fiddling Champion

July, 2004 …………………………………. Scottish Fiddling Revival, Inc. (Scottish

F.I.R.E.) Sanctioned Judge

June, 2006 …………………………………. M.A. Music Education, The Ohio State

University

August, 2009 to present ...... Adjunct Instructor, Westminster College,

New Wilmington, Pennsylvania

Fields of Study

Major Field: Music

vi

Table of Contents

Abstract ………………………………………………………………………………….. ii

Dedication ………………………………………………………………………………...iv

Acknowledgments ………………………………………………………………………...v

Vita ……………………………………………………………………………………….vi

List of Tables ……………………………………………………………………………..ix

List of Figures …………………………………………………………...………………xi

Chapter 1: Introduction …………………………………………………………………..1

Chapter 2: Review of Selected Literature ………………………………………………17

Chapter 3: Methods and Procedures …………………………………………………….37

Chapter 4: Results ………………………………………………………………………67

Chapter 5: Summary and Discussion …………………………………………………...89

References …………………………………………………………..………………….111

Appendix A: A Manual for Learning How to Play the Violin in the Traditional

Fiddling of ……………………………………………………………...119

Appendix B: Evaluation Forms ………………………………………………………..175

Appendix C: Pretest and Posttest Questionnaires ……………………………………...180

Appendix D: Pretest and Posttest Questionnaire Data ………………………………… 185

vii

Appendix E: Music from Outside of the Manual Used in the Pretests and Posttests ….187

Appendix F: Sample Practice Log Page ……………………………………………… 194

Appendix G: Practice Log Data ………………………………………………………. 196

Appendix H: Subjects’ Comments from Practice Logs …………………………...…. 198

Appendix I: Sample Video Evaluation Form ………………………………………… 204

Appendix J: Video Evaluation Data ………………………………………………….. 206

viii

List of Tables

Table 1. The Method of Arrangement of Tune Assessment Video Clips for Scottish

Fiddle Experts ……………………………………………………………………………64

Table 2. Music Degrees Held by Subjects ……………………………………………... 67

Table 3. Subjects’ Opinions During Pretest ……………………………………………..69

Table 4. Subjects’ Opinions During Posttest…………………………………………….71

Table 5. Comparison of Subjects’ Opinions Between Pretest and Posttest ……………..73

Table 6. Likert-style Manual Evaluations by Pedagogues and Scottish Fiddling

Experts……………………………………………………………………………………77

Table 7. Scottish Fiddling Experts’ Assessment of Manual Tunes for Subject ST1, Raw

Data ……………………………………………………………………………………... 80

Table 8. Scottish Fiddling Experts’ Assessments of Manual Tunes …………………… 81

Table 9. Inter-Judge Reliability on Pretest Tunes ……………………………………… 82

Table 10. Scottish Fiddling Experts’ Assessments of Music from Outside of the Manual:

Pretest ……………………………………………………………………………………83

Table 11. Inter-Judge Reliability on Posttest Tunes …………………………………… 84

Table 12. Scottish Fiddling Experts’ Assessments of Music from Outside of the Manual:

Posttest ………………………………………………………………………….………..85

Table 13. Scottish Fiddling Experts’ Assessments of Music from Outside of the Manual:

All ……………………………………………………………………………………….87

ix

Table 14. Correlations Between the Number of Minutes Spent Practicing the Manual and the Mean Posttest Ratings of the Judges’ Evaluations of the Subjects ……………..88

x

List of Figures

Figure 1. The Number of Fiddling Materials Available through Amazon.com by

Publication Date …………………………………………………………………………..5

Figure 2. Locations of the Sixteen Scottish F.I.R.E. Sanctioned Judges/Teachers ………7

Figure 3. Mel-Bay’s Music Inventory for the Violin …………………………………….9

Figure 4. Scale subjects used to rate opinions during pretests and posttests ……..……..68

Figure 5. Scale used to evaluate the manual ……………………………………………77

Figure 6. Scale used to evaluate subjects’ performances of tunes from the manual ……79

Figure 7. Scale used to evaluate subjects’ performances of tunes not included in the manual ……………………………………………………………………………………83

xi CHAPTER 1

INTRODUCTION

Scottish Fiddling

Scottish fiddling is the manner in which the folk violin music from the country of

Scotland is historically played. There is evidence that fiddling in Scotland predated the violin (Alburger, 1996). The music was initially played on unstandardized string instruments that resembled the and the modern violin. These instruments were known as .

Without the specialized patterns from which modern work, fiddles came in different shapes. Instead of curved top and back plates, fiddles had flat tops and backs like boxes. The frontal silhouette was more rounded than the of today; instead of having corners, fiddles were ovular or -like (Alburger, 1996).

As early as 1497, several fiddlers were on the King of Scotland’s payroll

(Alburger, 1996). As the modern violin was introduced to the country, the music from the was transferred to it, and the violin became the primary instrument to play the music of the fiddles. This and its techniques have been passed down through two traditions: the aural tradition and the tradition of publishing collections of fiddle

1 melodies or “tunes” that began in the early 18 th century. This has resulted in a large repertoire of music. In the Scottish Fiddle Music Index (1994), it is estimated that there are around eleven thousand unique tunes that originate from prior to the 1910s alone

(Gore, 1994).

The tunes are not only unique to Scotland, but also are unique in the manner in which they are performed. Frequently in today’s society, “Celtic,” a term taken from language classifications, is used to describe aspects of culture, such as music and art, which have ties to any of the surviving six Celtic nations: Scotland, , , the

Isle of Man, Cornwall, and Brittany (Kuter, 1995). All of these nations originally spoke languages that were from the Celtic language branch of the Indo-European language tree

(Kuter, 1995). Through the languages influenced the music. As a result, the fiddling traditions from the Celtic lands are styles with similar Celtic influences, but are still unique to the land from which they came: there is no overarching “Celtic” fiddle style. “Celtic” is still used as a term, however, to cumulatively refer to the fiddle styles originating from Celtic language speaking countries.

Scottish fiddling is similar to Irish fiddling since it has similar Celtic cultural origins, but Scottish fiddling has also been heavily influenced by ,

Scandinavian fiddling, and the Great . Through its unique “Auld

Alliance” with France, fiddlers in Scotland always had access to high quality French violins due to the trade between the countries. Along with the instruments came the popular courtly music of the continent. As many individual fiddlers performed both the courtly music from France and the native style of fiddling in the aristocrats’ homes, the classical music influenced the native music. Scotland’s close geographic proximity to

2 Scandinavia, the territories that Scotland and have both owned, and the sea-trade between Scotland and Scandinavia have allowed aspects of the Scandinavian music and the sound of the to influence Scottish fiddling. Finally, the playing of the is unique to Scotland. The sound of this bagpipe has heavily influenced the technique and the musical forms found in Scottish fiddling. The ornamentation used by the Scottish bagpipe has directly influenced the playing of the fiddle, as all of the left-hand ornamentation techniques have developed to mimic the sound of the bagpipe. The predominance of the in bagpipe music has resulted in the frequent use of Mixolydian in Scottish fiddle music. In addition, the

Mixolydian mode implies a I-bVII-I harmonic structure which is strongly characteristic of Scottish fiddle music. Only by Scottish fiddlers is the piobaireachd , a virtuosic musical and ornamental form uniquely played by the Highland bagpipes, also performed.

Finally, the development of and the playing of the “” is unique to Scotland and its fiddling style. It was developed centuries ago in the valley of the Spey River in

Scotland and has risen to become a type of music uniquely identifiable as being Scottish.

Scotland also has had a different political past from that of Ireland which has affected its music traditions. For instance, in 1746, following an anti-English political uprising in Scotland, the playing of the highland bagpipe was highly discouraged by the government as it was thought to be primarily used as an instrument of war. Since that time, it is generally understood that the fiddlers kept the popular music of the bagpipes alive until the political climate changed in the 1800s (Gibson, 2000).

Given the unique qualities of this traditional art form, it was, therefore, important for instructional materials to exist specifically for Scottish fiddling since there was very

3 little that already existed to meet this need. A manual that focused exclusively on the

Scottish manner of playing the fiddle was needed in order to educate violin teachers about this centuries-old cultural style of fiddle playing and to help differentiate its style from that of Irish fiddling and the other Celtic styles of fiddling. A document such as this was needed to meet the demands of the violin community today.

Purpose

The purpose of this study was to investigate whether the nuances of traditional

Scottish fiddling could be learned through the use of an instructional manual and DVD.

In this study, a these instructional materials were created for classically-trained violinists to teach themselves how to play fiddle melodies or “tunes” in the authentic traditional style of Scotland. The instructional materials were created for teachers in both public and private schools. Teachers who used fiddling and Scottish fiddle tunes in their school programs and private studios with their students needed to know how to play in an authentic manner to demonstrate techniques correctly.

Need

Interest in traditional forms of fiddling is growing in the United States. This is evidenced in part by the adoption of an alternative string component of the American

String Teachers Association (ASTA) (Lieberman, 2004), by the increase of fiddling materials being published (Figure 1) (Amazon.com, 2008), and by the success and growth of fiddling competitions, camps, and summer programs across the country

(Fraser, A., 2008a; Reed, 2002). Amazon.com is not the definitive resource for fiddling publications. However, it provides a wide overview of the fiddling materials that are

4 readily available for consumer purchasing. It was selected as a vehicle for gathering this data due to its comprehensiveness.

6 5 4 Number of Fiddling Materials Available by 3 Publication Date 2 (Amazon.com, 2008) 1 0

7 3 9 5 1 7 3 6 70 7 76 7 82 8 88 9 94 9 00 0 06 9 9 9 9 9 0 0 19 1 19 1 19 1 19 1 19 1 19 2 20 2

Figure 1. The Number of Fiddling Materials Available through Amazon.com by

Publication Date.

Fiddle clubs in schools are gaining in popularity as teachers are using fiddling as recruiting and retaining devices (Phillips, 2002). Instructional materials for use with school fiddle clubs have been published with increasing frequency since the mid-1990s

(Dabczynski & Phillips, 1996, 1999; Marshall & Crozman, 2001). Scottish fiddle tunes are often included in these documents.

ASTA has an alternative string component of their national conventions

(Association News: ASTA with NSOA Plans 2003 Conference, 2001). The workshops and educational sessions at the conferences focus on strategies and techniques that string teachers need to know to be successful in teaching non-classical styles of string playing to their students. Presentations at ASTA national conventions in the past have focused on

Scottish fiddling (’04 ASTA with NSOA National String Forum and Festival, 2004). As

5 the selection of such presentations is done through a peer-reviewed process of established and knowledgeable string teachers, it is evident that sessions devoted to the explanation of Scottish fiddling techniques are deemed as being valuable to the string teaching community.

While fiddling in the schools and in private studios provide opportunities for students to experience fiddling styles, there are additional performing and educational prospects available through fiddling competitions. There are competitions for different fiddling styles found in locations across the United States (Ludiker, 2008). They are most commonly found at county, state, and cultural fairs. Among them are competitions in Scottish fiddling. Routinely held across the United States, the competitions are separated into categories divided by age as well as skill level. Young competitors are encouraged to compete, and a Junior National Championship is held yearly (Scottish

F.I.R.E., 1996). Competitions such as these provide additional opportunities for solo performances by students. Beyond solo and ensemble programs, performing and competing at fiddle competitions promotes and enhances , creativity, and arranging skills. Positive feedback from a competition will also inspire students to continue to make music beyond that of the school .

Though having a teacher’s approval is not necessary to participate in these events, many young competitors have an instructor of some sort. Frequently, however, their instructors do not have extensive training in Scottish fiddling. Only sixteen sanctioned

Scottish fiddling judges/teachers exist in the United States (Scottish F.I.R.E., 2008b).

(Figure 2.) Such a small number of teachers cannot instruct great quantities of violin students who are interested in Scottish fiddling. Since success in the competition is the

6 best inspiration for young competitors, it is therefore necessary for materials to exist in order to educate the competitors’ instructors in how best to educate their students.

2 1 1 3

1 1 3 1 3

Figure 2. Locations of the Sixteen Scottish F.I.R.E. Sanctioned Judges/Teachers

(Rosenberg, 2008).

In the United States, a region that does not have many Scottish fiddlers, the instructional materials that are designed for this study may be one of only a small number of sources to which a student may have access. It will therefore have the potential to be highly influential in determining the successful transmission of what is globally considered to be authentic Scottish fiddling.

Materials developed in the study will provide pedagogical instruction for authentic Scottish fiddle style and general and musicianship. The existence of such a self-tutorial is important as it will allow violin instructors an in-depth opportunity to learn at their own pace. In-depth discussion of techniques and traditions are not often able to be found at short-term workshops and convention sessions. Camps

7 may offer more in-depth analysis, but are costly and quickly paced. Other publications about Scottish fiddling frequently do not offer technical or pedagogical instruction (Cook,

1990; Hardie, 1992; Martin, 1998, 2002, 2003; Skinner, 1984).

Fiddling camps and summer programs are growing in popularity with the general public and with string teachers. Scottish fiddling schools and camps are found in several areas around the United States, and new programs have been established within the past several years (Scottish F.I.R.E., 2008a; Fraser, A. 2008a). Several of the programs often have a participant waiting list, and all are welcoming to all ages (Fraser, A., 2008b).

Students with a solid background in the genre will be able to better maximize their musical experience at an intense fiddling camp than the students who possess an interest in the fiddling style but are starting without any previous training from their school or private teachers.

Outside of specific educational programs during the summer, informal gatherings of fiddlers meeting to “jam,” or play fiddle tunes together, are common. Scottish fiddlers of all abilities are welcome at such events. Fiddle clubs, the more formalized type of gathering commonly found in the Scottish fiddling community, are located mostly in urban centers across the country such as the Washington, D.C. metropolitan area, Boston,

San Francisco, and Los Angeles (Scottish F.I.R.E., 2008c). In observing the number of members that are signed in at one time on community gathering fiddle websites, it can be concluded that these sites, which are formed to share information and advice, appear to be well-trafficked (Knight, 2008). Students will be better able to pursue a musically enriching experience through these venues if they previously have been taught some of the basic skills and techniques important to the style.

8 If teachers want their students to be well-prepared to take advantage of educational opportunities such as competitions, summer fiddling camps, and fiddle clubs, instructional materials must be available for the training of the teachers in the traditional style of Scottish fiddling. Currently, few materials are available. For instance, Mel Bay is a publishing company that offers a large assortment of materials for different fiddling styles, including Scottish. Their online catalog is categorized by topic. Of the 404 products listed for the violin as an instrument, 62.4% of them were listed under the heading of “Fiddle,” while the remaining 37.6% were categorized underneath the heading of “Violin” (Mel Bay Publications Incorporated, 2008) (Figure 3). This does not imply that all publishing companies offer more fiddling-related products than that of classical violin or that they should. However, it does show the confidence in the fiddle music market that one particular company demonstrates in offering the majority of their violin works for the fiddle.

Celtic Instructional Books, 2% Non-Celtic Instructional Books, 8%

Classical Violin Materials, 38%

Non-instructional Fiddle Books, 52%

Figure 3. Mel-Bay’s Music Inventory for the Violin.

9

Of Mel Bay’s fiddling products, 16.6% are categorized as being method books

(Mel Bay Publications Incorporated, 2008) (Figure 3). The denotation of a book being considered a method book implies that its purpose is to teach a particular technique or style since “method” is defined as “a manner or mode of procedure, esp. an orderly, logical, or systematic way of instruction, inquiry, investigation, experiment, presentation, etc,” (Dictionary.com, 2008). Of those method books, 19% suggest instruction in a

Celtic tradition (Figure 3). None imply a specialized focus on the fiddle music of

Scotland. The Scottish books that Mel Bay supplies are entirely listed under

“Tunebooks” or “Solo” (Mel Bay Publications Incorporated, 2008).

Fiddler’s Crossing, a branch of Mountain Music, has a reputation for being a leading traditional music publishing and clearing house. Of their 105 Scottish fiddling products, only six are listed as instructional materials (Fiddler’s Crossing, 2008). After an informal pedagogical analysis of these six texts, it was concluded that little information existed about how to actually execute authentic Scottish fiddle playing techniques. When technical advice is given, it is often only appropriate for musicians who have already had some prior fiddling experience (Cook, 1990; Hardie, 1992; Martin,

1998, 2002, 2003; Skinner, 1984). Thus, a resource for violin teachers who do not have this background is particularly needed.

Methodology

First, a document was designed to provide instruction on how to play Scottish fiddle tunes in an authentic manner. The document took the form of a manual and included four parts:

10 Part I:

The first section of the document was the introduction. This included an overview of the main regions of Scotland and how they have influenced Scottish fiddling.

A brief history of Scottish fiddling was also included.

Part II:

The main body of the document was divided into sections by types of tunes.

Concentration was on the following types of tunes: airs, , jigs, marches, reels, and strathspeys. These types of tunes were chosen due to their pedagogical value and to their importance within the Scottish fiddling tradition. Excerpts from common traditional

Scottish fiddle tunes were used as exercises to practice pertinent techniques. In this section, they appeared in a format that is fully transcribed with stylistic elements that were added to the music.

To play in a certain style, one must not only know what the physical techniques are, but he or she must also know when to use them. In this respect, the performance of

Scottish fiddling is similar to performance practices of . This manual introduced the unique techniques and concepts that are integral to playing Scottish fiddle tunes in an authentic manner. These techniques included:

Birls – a bowed ornament used to mimic the sound of the birl , an ornament played on the highland bagpipes. An ornament found prominently in Scottish fiddle tunes. The technique possibly originated in Scotland.

Combination Ornaments – Combination of hammer-ons and left-hand taps or left- hand taps and pull-offs. Based on bagpipe ornamentation.

11 Crunch – A bowed ornament that is a combination of a hammer-on and a .

Hammer-ons – a type of note. Precedes the melody note and occurs just before the beat. Occurs from below the melody note.

Hornpipe – a heavy rhythmic swing used in hornpipes.

Jig Swing – a medium rhythmic swing using in eighth note passages of three eighth notes with less emphasis on the middle note. A unique feature in Scottish jigs.

Left Hand Taps – a type of grace note. A percussive motion that uses the fingers of the left hand to interrupt the vibrations of the string. Based on bagpipe ornamentation.

Pull-offs – a type of grace note. Precedes the melody note and occurs just before the beat. Occurs from above the melody note.

Reel Swing – a very light rhythmic swing used in reels.

Snaps – written as a sixteen/dotted eighth set, but performed as thirty- second/doubly dotted eighth. Also known as the Scottish Snap. Unique to Scottish fiddle music as it is the signature rhythmic technique of the strathspey.

Strathspey 16ths (runs) – a four sixteenth note run played with a rhythmic lengthening of the first note and a condensing of the following three sixteenth notes.

Unique to Scottish fiddle music as it is found in strathspeys.

Up-Driven Bow – a bowing pattern of one down bow and three articulated up bows. Found in strathspeys. Unique to Scottish fiddle music.

The intention was for the reader to build a vocabulary of stylistic elements by studying how to play the Scottish techniques. A reader would then build a context in

12 which to use the Scottish techniques by studying how they were added to the transcriptions.

Then, to facilitate bridging the gap from playing transcriptions to improvising in the traditional manner, exercises to encourage and direct improvisation were included in the manual. These exercises were tunes as they appeared in their standardized traditional forms: un-transcribed and without any marked bowings or ornaments. These exercises included blanks in which there were a limited number of suggested options to choose.

Each option, if chosen, fit within the traditional manner of playing. The exercises were integrated into the manual beginning after approximately one-third of the manual was completed.

Part III:

The end of the document contained an appendix of the tunes used throughout the manual. The tunes appeared in their complete forms and were fully transcribed with ornaments and bowings as examples of authentic ways of playing the tunes. These served as examples of how to interpret and perform traditional tunes using the techniques discussed during the body of the manual. This section also included historical information about the tunes so that the full context about these specific tunes was shared.

In addition to the manual, a DVD video recording of the tunes was made. This accompanied the manual to give the student aural and visual examples of how the techniques are supposed to sound and how they are played. This was consistent with the historical tradition of Scottish fiddling which was passed down both by written music and by aural example.

13 Following the completion of the manual and recording, the document was sent to five violin pedagogues and three authorities in the Scottish fiddling field. The five violin pedagogues were asked to assess the overall pedagogical soundness of the manual and the potential of the manual to instruct the subject. The Scottish fiddle experts were asked to review the document to determine the authenticity of the tunes chosen, to decide if these tunes were valid representative samples of Scottish fiddling tunes, and to evaluate the techniques presented and their related pedagogy.

Once the comments from the violin pedagogues and the Scottish fiddling authorities were received, revisions were made to the document. At this point, the DVD was created. Both the manual and the DVD were then sent back to the violin pedagogues and Scottish fiddling experts again for a final assessment. The Scottish fiddling experts were expected at this point to review the performances on the DVD to ascertain their authenticity. Following these final reviews, final revisions were made to the instructional materials.

At this point, the document and the recording were pilot-tested. They were sent to ten subjects who did not have any fiddling background. The musical background of each subject was gathered through an informal interview. The subjects’ lack of familiarity with Scottish fiddling was tested by having them play through a set of tunes that were not included within the manual. These tunes were not arranged and appeared in their standardized forms. This initial performance was recorded by video. Then, the subjects were allotted a month in which to study the manual and recording by themselves. During that time, they were asked to keep a log in which to document their progress and to express their thoughts about the manual and recording. Five days before the completion

14 of their study period, they were again presented with the initial set of tunes from outside of the manual and with a list of tunes from within the manual that they would be expected to perform. The subjects were then posttested, and their tests were videotaped. These recordings were then sent back to the Scottish fiddling experts for their evaluations of the performances of the subjects to determine the effectiveness of the manual. The experts used a rubric based on the Scottish F.I.R.E. competition evaluation forms to assess the subjects.

Results

By analyzing the final performances of the participants, the content validity of the project was determined. Particular attention was paid to the validity of the tunes and techniques, the validity of the pedagogy used, and the validity and effectiveness of the process as a whole.

A fixed number of tunes were presented in the manual. They were chosen due to their representation of the techniques and styles of playing that were being emphasized by the manual and by their relationship to the other similar tunes. The tunes were from the public domain and were representative samples of Scottish fiddle music.

Representative tunes were defined by their being found within the commonly published repertoire and were authenticated by the Scottish fiddling experts. The tunes were presented in the manual in their transcribed forms. The selection validity of the tunes and the validity of their pairing with traditional techniques were determined by the review of how the participants interpreted and performed different tunes of similar styles. This was especially true if the participants showed a deficiency in a particular type of tune (e.g., strathspey or ) and strength in another.

15 Pedagogical methods for learning and performing techniques unique to Scottish fiddling were present in the manual. How well these methods prepared the participant to perform the same techniques in unstudied tunes at the conclusion of the project determined the validity of the pedagogy. It was therefore necessary to discover if the pedagogy used in the manual and demonstrated on the video recording was enough for the participant to be able to correctly execute the techniques as needed in the unstudied tunes.

Although Scottish fiddling has been historically taught using both aural techniques and written music (Alburger, 1996), it has not previously been taught through the use of a pedagogical manual or instructional DVD before. Through the use of a rubric, this project evaluated how well a pedagogically based manual that was paired with a video recording was able to substitute for a master teacher. The study determined if the manual and video recording could be effective in developing the non-fiddler to play in an authentic Scottish fiddling style.

The final evaluations of the subjects’ performances of Scottish fiddle tunes was assessed as being significantly more consistent with the performance practices of traditional Scottish fiddle tunes as compared to the pretest. By playing un-edited tunes, subjects demonstrated the level of musical understanding that they absorbed by using the manual.

16 CHAPTER 2

REVIEW OF SELECTED LITERATURE

The literature that is relevant to this project is first separated into two categories.

The first category is comprised of materials related to fiddling; the second is pedagogical information. Both categories focus on instruction aspects of a style, not on the characteristics of the style itself. Then the fiddling literature is further divided into sub-categories: ethnographic studies, instructional resources in Scottish fiddling, and teaching and assessing fiddling.

Teaching Fiddling: Ethnographic Studies

Little research has been conducted on the pedagogy of teaching and learning fiddling. The majority of descriptive fiddling sources that are currently available are ethnographic. The type of environment in which the transmission of the fiddling style took place, its historical context, and the global attributes of the transmission process are the foci of many studies. For instance, Glenn Graham and Virginia Garrison both studied the preservation of Scottish fiddling on , . During the

Highland Clearances of Scotland in the 18 th century, many Scots were evicted from their homes and lands and crossed the Atlantic in search of better lives. Many of them settled

17 in Cape Breton. They brought their fiddles and their fiddle music with them. Though not completely isolated from other cultures, Scottish Cape Bretoners kept to themselves and continued to pass their style of Scottish fiddling on to subsequent generations. Graham evaluated how familial support on Cape Breton has changed over time and its effect on the transmission of the style. To Graham, the teacher from whom a beginning fiddler learned was more important than how he or she learned the techniques needed to play in the traditional style. Garrison researched how the techniques were taught; however, she too placed more emphasis on ethnographic concerns rather than the pedagogical issues.

She states, “Concern for the maintenance of the essential aspects of the traditional transmission process and interest in the effect of changes in the instructional setting on these features was the impetus for this study” (Garrison, 1985, p. 23).

Garrison found that, in contrast to the historic example of young boys learning to fiddle simply by determination and by following example, formal classes were being offered. She observed how the classes were becoming a more frequent medium through which fiddling was taught, but beyond mentioning that they used written music in the classes, she did not investigate the details of how elements of the style were taught through the written music to ensure the transmission of the traditional style. Garrison chronicled how a number of the fiddlers from the classes began their studies. All of the fiddlers discussed the method in which they started (i.e. by ear, by themselves, watching others, etc.), but none reported specifics of the pedagogical methods or the sequential instruction they received when they did receive guidance from other fiddlers or violin teachers (“professors”).

18 While neither Garrison’s nor Graham’s studies offer much concrete pedagogical information, they both emphasize the importance of a beginning fiddler listening to expert or “master” fiddlers and learning stylistic techniques through imitation. In other words, aural skills cannot be abandoned in favor of reading skills.

Pamela Swing studied the establishment of fiddling classes in the primary and secondary schools of , Scotland. In a study that straddled ethnomusicology and music education, Swing constructed a portrait of how Shetland fiddling was preserved and spread by the work of just one man, Tom Anderson. At a time when Shetland fiddling had all but died out, and no one seemed to be interested in passing on the art- form, Anderson collected Shetland tunes, researched the tunes and their historical ties to

Scandinavia and mainland Scotland, and tried to revive authentic Shetland fiddle playing.

He did the latter mainly through teaching. A school superintendent in Shetland invited him to begin teaching some of the elementary pupils how to play native Shetland fiddle music. As the project proved to be a successful venture, Anderson’s teaching was spread to other schools. Former students aided him in the work, and eventually two of them,

Trevor Hunter and Margaret Robertson, established their own fiddle programs at other schools. It was in this project that Swing participated, observed, and documented the manners in which Anderson, Hunter, and Robertson instructed their students.

None of the three fiddling instructors received any formal educational training.

Anderson learned how to play by taking a few informal lessons from his grandfather. He improved his performance by much self-criticism and the emulation of better fiddlers and violinists (Swing, 1991). He discovered that, in the format of a school class lesson with

19 more than one student, he was unable to teach in the manner in which he himself had learned. Therefore, his teaching practices evolved by trial and error.

Hunter and Robertson were former students of Anderson. Both of them began teaching fiddling in the Shetland schools immediately upon their graduation from high school. Each based curriculum decisions and repertoire choices on their previous experiences with Anderson and on their on personal preferences and priorities. The result, as documented by Swing, was that Anderson taught what he believed to be stereotypical authentic Shetland tunes; Hunter taught the techniques of how to get a prime sound from the violin as an instrument through the use of mostly Shetland fiddle tunes; and Robertson used fiddle tunes from different nationalities to encourage students to play in bands. Yet all three had been hired to teach Shetland fiddling. Ultimately,

Swing (1991) observes:

The way instructors have chosen to go about teaching Shetland fiddle music has

had a major impact on how the music has been revived. . . . As teaching tools,

tunes that provide a good example of a particular technique are favored over other

tunes, and thus have come to have a more prominent place in the repertoire than

they might otherwise have had (p. 16, 213).

In addition, the definition of what was considered “authentic” Shetland fiddle music was created by Anderson himself. Swing acknowledged the ethnological flaws inherent in having a single man define a cultural tradition. What Anderson presented to the world as authentic “Shetland” fiddling was a personal blend of historical impression and musical preference. It was one man’s opinion which lacked external validation. It is reasonable to assume that most fiddlers will do the same as Anderson. Therefore, in a

20 situation in which there are multiple expert fiddlers in a particular genre, it could be reasonably deduced that personal preferences become characteristic of the style among all of the fiddlers.

Such a matter was considered during the selection of the tunes for this project’s manual and during the presentation of the information. Choices that were made might impact students’ impressions of Scottish fiddling. The review and critique of the manual by several acknowledged Scottish fiddling experts helped to balance any personal opinions of the developer and will led to a more successful method of teaching authentic

Scottish fiddling.

One issue that Swing (1991) raised that was considered in developing this project was one of a “crisis of content.” She defined this as fiddlers being trained through repertoire and experience to become concert stage performers at a time when there were few opportunities for them to pursue this as a career or lifetime endeavor. In Shetland at that time, there existed more opportunities for fiddlers to be used as musicians, yet most of the students were not being trained to be such. In this project, the “crisis of content” was bypassed since the goal was to construct a vocabulary of Scottish fiddling techniques that could be used in various settings: stage performance, dance bands, and informal jam settings. This allowed the student to take the techniques and apply them to music in any circumstance. However, since the student would not be around dancers while learning these techniques, the pieces chosen for the manual would include tunes that are more appropriate for performance and jamming. In this project, attention was not given to the performance practices of each situation. That will have to be a subject of further study.

21 Though most of the information about teaching Shetland fiddling is not pedagogically specific, some pedagogical devices were found that affected the format of this project’s manual. For instance, Swing (1991) documented interviews with Anderson in which he described what repertoire he chose for use in his instruction. Tunes that he believed to be the best examples of traditional Shetland fiddling were continually found in his teaching repertoire due to their historical and cultural value. One pedagogical device that he frequently employed in the teaching of tunes was telling the “story behind the tune” (Swing, 1991). In sharing the “story behind the tune” with his students,

Anderson recited a factual history or contrived story about the tune. He believed that having such a context would aid the students in their attempts to interpret the tune within an authentic traditional manner of playing. To Anderson, the legitimacy of the story was not as important as how the student played the music as a result of the story. In a genre that places great value upon individual creativity from within the context of tradition, this became an effective teaching device. Swing (1991) discussed this when she commented:

One result of using stories as a way of conveying what the tunes are about is that

the pupils are given leeway to develop their own interpretation of both the story

and the melody… Thus pupils are able to move beyond imitation of the teacher to

‘making tunes their own’ to use a term often employed by Tom [Anderson] (p.

202).

In the fiddle classes on Shetland, tunes were taught from printed music. Swing observed the problem of using printed music when teaching a fiddle tradition that favors individual creativity since it standardizes the student’s concepts of what is the correct way to perform a tune. The general assumption is that what is printed on the page is

22 correct. A student could have a difficult time accepting that a performance which deviates from the printed version can be sometimes more stylistically appropriate than a performance that strictly adheres to the notation. The student must learn the printed music as a version of a global idea of a tune and must evaluate changes to the basic tune’s idea through the use of aural skills. However, while learning from the printed page breaks from tradition on the Shetland Isles, navigating this issue is very much within the tradition of mainland Scotland. Printed copies of sheet music have been regularly produced in Scotland since the early 18 th century (Gore, 1994) and since Scottish fiddling, like Shetland fiddling, has high regard for individual musical interpretation,

Scottish fiddle teachers have been coping with this instructional issue ever since.

In reviewing printed Scottish fiddle music collections, the most obvious observations are that the tunes are simple. They often contain phrases in multiples of four measures, are frequently in binary form, and, unless edited, lack notation for either ornamentation or bowings. Dixie Zenger (1980) commented on the difficulty of dealing with such music without stylistic background:

However, as I continued to work with the tunes, I realized that styling was

absolutely crucial and that my traditional [classical] violin skills didn’t prepare

me to “fiddle.” Even . . . the hours of practicing I had spent as a violinist were

invaluable [sic ; of no value] to learning to be a proficient fiddler (p. 7).

In Shetland, the fiddler adjusted his bowings while playing to match the syncopation of the rhythm of the Shetland reel, the traditional dance of Shetland. Tom

Anderson (Swing, 1991) summarized the distinctive bowing patterns that resulted: “The most characteristic Shetland bowing technique was the one-down three-up bowing,

23 though two bowed and two separate was also used. . . . The one-down three-up technique sometimes resulted in notes being tied over the conventional bar line. . . .” (p. 271).

Pamela Swing further analyzed the distinctive Shetland bowing style by noticing that one-down and three-up bowing occurs on the off beat as well as directly on the beat.

Such bowing is illustrated in Haand Me Doon da Fiddle , a collection of edited Shetland fiddle tunes published by the University of Stirling for use as an instructional tool in the

Shetland schools. The book is not a method book and does not introduce concepts. It is a collection of Shetland fiddle tunes that Anderson and Swing deemed to be the most helpful for the youthful beginning Shetland fiddler and was the primary resource for the fiddling lessons in the schools (Swing, 1991). The fifty-five tunes in the book include , reels, waltzes, , listening tunes, and marches. The book begins with “Baa

Baa Black Sheep” in the key of A and with eighth notes. The tunes advance in rhythm and technique very quickly through the book. Dotted quarter notes are shown in the second tune of the book, and the three-four is used in the third piece. By contrast, in Book I of the well respected Essential Elements for Strings method book series, dotted quarter notes are never mentioned and the three-four time signature is introduced only after twenty-eight pages of other material have been mastered (Allen,

Gillespie, & Hayes, 2002). In Haand Me Doon da Fiddle , the one-down three-up bowing pattern, an advanced bowing technique that demands from the performer a high level of simultaneous control over bow speed and bow distribution, is used as early as the sixth tune and is used over the measure lines in the seventh tune. Additionally, scordatura, a very advanced tuning and transposing technique, is shown for the first time in the twenty- eighth tune. Ultimately, Haand Me Doon da Fiddle demonstrates the bowings that Tom

24 Anderson and Pamela Swing edited into the tunes, tells some of the “stories behind the tunes,” and shows some accents, but does not discuss ornaments or the finer points of rhythm or bowing.

Instructional Resources in Scottish Fiddling

J. Scott Skinner, one of the most famous Scottish fiddlers in history and the self- named “Strathspey King” (Hunter, 1988, p. xiv), attempted to share the finer points of

Scottish fiddle bowing technique in his treatise, A Guide to Bowing . In it, he took excerpts from multiple strathspeys and reels and edited them to include bowings in an effort to show how he would play them. In prose, he attempted to describe the physical aspects of the techniques as they are illustrated in the music. He used many adjectives and adverbs in his descriptions, but did not define these terms. He also shared his bias unabashedly on many of the techniques and traditions. For instance, he airily disregarded the “doodle,” an ornamental bowing technique, as “one quaint but senseless feature of the past ages” (Skinner, 1984, p. 15). Several observations can be made from A Guide to

Bowing . First, it is a good resource for bowings within examples of the included excerpts; however, the book does not give any tunes in their complete forms. Secondly, by giving only his own interpretations of the tunes, he gave information on how to play only in the style of North-East Scotland. Lastly, with regard to teaching the reader how to play in a Scottish style with appropriate bowings, the treatise does not give pedagogical instruction.

Advice on how to play in the Scottish idiom is also found in A Guide to Scottish

Fiddling by Bill Cook, the present concertmaster of the Scottish Fiddle Orchestra. The guide covered many different types of tunes found in Scottish fiddling including 2/4

25 marches, 6/8 marches, strathspeys, reels, jigs, slow airs, polkas, and hornpipes (Cook,

1990). Cook discussed elements of each type of tune through the use of some standard repertoire and some of his own compositions. It was written in a very conversational manner and strove to be encouraging to the student, but it did not explain how to achieve certain techniques. In fully edited examples of entire tunes, Cook illustrated bowings and marks some accents, but he did not include descriptions of how to execute the markings.

He briefly described how ornaments appear on the page, but he did not discuss the style in which one ought to play them. Also, he did not include the ornaments in his edition of the music. While Cook devoted several pages of examples to the “up-driven bow,” an advanced strathspey bowing technique, he did not mention the “birl,” a unique Scottish bowing technique that is frequently found in both reels and strathspeys. Despite giving very little concrete pedagogical information, Cook encouraged practicing by making comments such as, “Now go away and practice like mad…” (Cook, 1990, p. 7).

Unfortunately, his well-intentioned comment could be damaging to beginning fiddlers since it encouraged extensive repetition without ensuring, through careful instruction, that what they were repeating was correctly executed.

Christine Martin’s Traditional Scottish Fiddling conveys a wealth of information to an aspiring Scottish fiddler. She discussed both the regional styles and dance styles of

Scottish fiddling and many of their associated techniques. She gave edited excerpts of tunes, and included the entire tune in the book, frequently in an edited format. Martin did not design her work to be a method book and did not introduce techniques in any type of sequence. Though she included some general directions on how to execute some of the techniques, these instructions were frequently limited to bow-direction. Traditional

26 Scottish Fiddling is a thorough introduction to many different aspects of Scottish fiddle music, yet in it, Martin tried to cover so many different aspects that she glossed over some basic and important tenets of the style. She claimed that the book is an appropriate resource for an intermediate or advanced fiddler to use if he/she is looking for clarification and information on the style, as she used “a player’s guide” as the subtitle of the book. However, it would be difficult for a beginning fiddler to be able to extrapolate even the basic elements of the Scottish style because the information is incomplete and is not organized in a progressive manner. Martin did not discuss how or why some of the techniques were used, nor did she include any exercises on composition or improvisation.

Therefore, it might be difficult for the fiddler to apply the techniques learned from this book to music from other sources. In addition, despite the importance that Scottish fiddlers place on individual interpretation, there are no methods within the text that encourage experimentation or improvisation within the style.

Martin designed The Scottish Folk Fiddle Tutor to enable the student to “play traditional fiddle music quickly and easily” through Scottish repertoire (Martin, 2003, p.

3). Designed for beginners of all ages, Martin taught elementary concepts through the use of easy traditional Scottish melodies. However, the skills which she presents are only the minimum standard techniques necessary for playing the violin. This strategy is inconsistent with traditional accounts of beginning fiddlers learning how to play the fiddle by picking out a single tune by ear and being told whether the result was or was not correct. A fiddler without standard musical training would be highly unlikely to know how to separate his or her ornaments and bowings from the melody as he or she would have always heard the ornaments, bowing articulations, and melody fused together into a

27 single musical unit. Playing correctly, therefore, would include stylistic techniques such as ornaments and bowings that would make the tune sound appropriately Scottish. Thus, since Martin did not instruct through the traditional manner, she did not guide the students into the style as beginners to the instrument. Instead, she chose to keep the stylistic components separate until later, assuming that the students will pick up the

Scottish details once their technique has reached a certain level of proficiency. This is very similar to the manner in which many classically trained violinists learn to play in the Scottish style. Therefore, though Martin gave the students basic Scottish fiddling repertoire, there is no specific Scottish pedagogy that separates

The Scottish Folk Fiddle Tutor from other beginning non-fiddling violin books.

Teaching and Assessing Fiddling

Richard Riggs decided to design an Old-Time fiddle method book to be used with school students in 1994. He studied the characteristics of standard violin method books used in the public schools to instruct students how to play their instruments in an orchestral setting. He then based his Old-Time fiddle method book upon those characteristics. However, in his method, he used only tunes that were found in the Old-

Time fiddle repertoire. Since the Old-Time fiddle playing tradition places great emphasis on improvisation, Riggs also gave controlled exercises to encourage melodic improvisation. The exercises are frequently found at the end of short melodies during which the student is required to improvise the cadence. Riggs also encouraged the development of generic aural skills. Later, the student has the opportunity to “fill in the blank” in familiar melodies that have been previously learned.

28 Beyond the building of aural skills, the improvisation exercises, and the use of

Old-Time tunes, Riggs did not provide much insight into how to play the tunes in the traditional Old-Time manner. He mentioned shuffle bowing briefly and little else.

Ultimately, the students were exposed to repertoire and the basic mechanics of the instrument, but not to stylistics.

While many articles can be found about the importance of teaching fiddling, and some publications superficially present manners in which to teach it, very little exists regarding the assessment of its performance. In 2007, the Scottish Music department of the Royal Scottish Academy of Music and Drama (RSAMD) in Glasgow, Scotland, organized and produced a framework in which Scottish fiddling performance can be assessed. Structured similarly to other exams administered by the Associated Board of

Royal Schools of Music, the Scottish Traditional Music Graded Exams in Fiddling have five divisions of grades. Each grade is evaluated on performance, technical work on the violin, a sight-reading section called “Quick Study,” and on a practical and aural musicianship test (Royal Scottish Academy of Music and Drama, 2007). As the grades increase, so do the difficulty of the exams. In keeping with the idiomatic style of Scottish fiddling, the format of the exams encourages personal creativity.

The RSAMD developed the exams for several reasons. They are to provide:

an escalator for young aspiring musicians who wish to widen their scope of

opportunities; a basis for professional development among traditional Scottish

music educators and non-specialist teachers looking to gain further experience of

traditional Scottish music; a firmer establishment of traditional music tuition in

29 Scotland’s educational curricula; and parity of esteem with the classical idiom

(Royal Scottish Academy of Music and Drama, 2007, p. 1).

The exams take place at the RSAMD facilities or via videoconferencing, and specialists in the field assess them. Ideally, the achievement of certificates for the grades signifies advancement not only on the instruments, but also within the style.

The Scottish Traditional Music Exams have published syllabi for each traditional

Scottish instrument. The syllabi are not benchmarks for technical progress. Instead, the fiddle syllabi give examples of tunes for performance, technical exercises, and sight- reading selections that would be appropriate for each grade level. The onus is upon the teacher to decide how to advance the student to meet the requirements of the syllabi.

Within the performance section, the suggested tunes are divided into three categories: airs, dance tunes, and recently composed tunes, suggesting that in order to be a competent fiddler, a person must be able to play tunes composed in different eras, meters, tempi, and keys. In order to do so, he/she must demonstrate capability to an ever-increasing degree on the instrument and with the bow. Over all, the performance is assessed in terms of

“fluency and continuity, a sense of style, musical character, secure intonation, and sense of performance” (Royal Scottish Academy of Music and Drama, 2007, p. “Assessment terms and criteria”).

The syllabi appear to be mostly designed with the beginner to the violin and to the

Scottish style in mind. This could imply a trend in Scotland that suggests that the majority of people interested in the exams are either children or adults who have not played the violin previously. The only concession that it makes to the violinist who is learning to play the violin in the Scottish style is by offering the Performance

30 Assessment. The Performance Assessment is different from the graded exam. In the graded exam, the performance segment is evaluated and given a numerical value. It is then combined with the scores for the technical work, the sight-reading, and the musicianship skills. The Performance Assessment does not include any other testing beyond that of performing the tunes. It is also without any type of assignment of numerical value. It simply assesses how well the student plays within the traditional

Scottish style through the use of written comments. RSAMD declares that this type of assessment opportunity is appropriate for “teachers who may want a confidential assessment of their playing as part of their continuing professional development or who are approaching Scottish traditional music for the first time” (Royal Scottish Academy of

Music and Drama, 2007, p. “The Performance Assessment”).

Teaching Improvisation through Jazz Pedagogy

In Scottish fiddling, ornamentation is improvisatory. How ornaments are improvised frequently determines the performer’s aptitude in the Scottish style.

Therefore, since teaching students how to play in the Scottish style includes teaching them how to improvise, research in jazz improvisation pedagogy was investigated.

There are many methods of teaching jazz improvisation. For instance, some jazz students learn to improvise by imitation only. However, the present study was concerned with learning an improvisatory style through the use of written instructional materials.

Therefore, the jazz tradition of learning exclusively by ear was not investigated in detail.

Nevertheless,

Jazz musicians traditionally learned jazz improvisation by transcribing other

musicians they admired in order to absorb, assimilate, and retain important

31 stylistic elements of jazz. Indeed, many famous jazz musicians have testified to

the importance of transcribing as part of their jazz education (Re, 2004, p. i).

In summary, jazz musicians also learn improvisation through the use of transcription.

Therefore, this review of literature focused on how the jazz student could interact with written instructional materials.

Learning improvisation through jazz transcription is a little explored pedagogical issue, according to researcher Philip Small (2006). It is a fairly complex process that requires not only extremely advanced aural transcription, but imitation, performance, and composition as well. Small attempted to define the process through which the aspiring jazz musician goes and which is appropriate for all instrumentalists. According to him, the improvised jazz solo is first aurally transcribed onto paper. The student normally transcribes the solo from recordings of jazz instrumentalists who are acknowledged to be experts in the field. Though this procedure can take up to several weeks at first, with practice, the student will take less and less time. Compositional techniques are used to aid the student in “filling in the gaps” of the transcription. Once the solo is fully transcribed, the student practices the transcription and endeavors to imitate the nuance of the original recorded solo. Small also encourages singing the transcription so that the student can understand how the phrasing breathes. Ultimately, the student should practice the transcription until it meets a performance standard. By completing this process, the student will be able to take motifs and ideas from this transcription to build his/her own vocabulary from which new improvisatory ideas will be taken.

While the process that Philip Small describes sounds thorough and effective, it also takes a considerable amount of determination and time. Therefore, he also believes

32 that previously transcribed solos are helpful instructional aids for the beginning improviser. Prior to doing transcriptions on their own, if students have access to and practice previously transcribed materials, they will be able to build an initial vocabulary of possible devices. Such a vocabulary will aid them when they begin to transcribe solos on their own.

Neil Wetzel observed that jazz education in the public schools often does not follow traditional jazz pedagogy. Students are frequently trained to follow transcribed solo lines due to the lack of time to teach improvisation properly. Such a situation is also frequently found in the manner in which the “Break” line in the music from the

Fiddlers’ Philharmonic series is used within the schools (Dabczynski, A., & Phillips, B.,

1996, 1999). Ultimately, while the “Break” line is effective in the beginning stages of learning, it does not teach the students the stylistic idiom in its complete form.

Access to instructional materials has been a particular problem with aspiring jazz violinists. Caroline Lee noted that while there are some books available, they are mostly not for advanced players of the instrument. While doing transcriptions of solos by other instruments will aid the violin student, the different technical demands of the violin will not allow the transcribed solo to make idiomatic sense. An additional problem with using transcriptions for other instruments is that the nuance inherent in a performance will not necessarily transfer from one instrument to another for an instrument-specific authentic performance.

Though Small agrees that transcriptions are useful aids in the beginning of the process of learning to improvise, he takes pains to clarify his stand on the use of them.

33 Moreover, it is not enough to use published transcription books with notated

[melodic] solos; in these, the important work is already done. The true soul of

jazz improvisation lies in the ability to transcribe. It is the aural discovery of the

notes, articulations, and nuances that move the student to a higher plane of

learning. This discovery is made with the ears, not the eyes (Small, 2006, p. 17).

Further, to highlight the importance of using listening and of eventually moving away from the written transcription, Small (2006) emphasizes:

Many soloists are not able to notate everything they play. These unwritten

nuances can only be learned by hearing them. Through this pivotal process of

absorption, students emerge with a fresh insightful outlook on a musical passage

that perhaps was previously over-looked. (p. 31).

Such perspectives are true not only in jazz, but in fiddling as well. Although transcriptions of fiddle tunes are a valuable aid in learning how to play in the traditional styles, transcriptions are not sufficient for beginning fiddlers to use. Even annotated fiddling music does not depict all of the shades of expression found in performances.

When aurally comparing the written versions of tunes to their recorded versions, not only are the more obviously improvised variations and ornaments apparent, but smaller stylistic nuances become evident as well.

Study Most Related to the Current Study

Richard Riggs’ study on presenting American Old-Time fiddle music in a method book format is most similar to the current study. He designed a method book and assessed its authenticity by using a review panel of violin teachers. He also included exercises in improvisation and aural skills.

34 Riggs’s study differs from the current study because it was designed for children, it focused on the Old-Time fiddle style, and it only used one review panel. The current study is designed for violin teachers in an effort to educate the instructor who will then teach the students. The current study is focused on Scottish fiddling and will use two review panels: one of violin pedagogues and one of expert Scottish fiddlers. Exercises to build aural skills will not be included since the current study is designed for violin teachers who should already have developed aural skills. Though exercises for improvisation will be included, they will follow the recommended jazz pedagogy methods. Additionally, the current study will be pre- and posttested.

Summary

Overall, scholars have written very little about specific Scottish fiddling teaching techniques. Instead, Scottish fiddling styles were more often the focus of descriptive research that is more ethnographic in nature than pedagogical. The setting in which the instruction takes places was frequently more important to the study than instruction itself.

Neither Garrison’s nor Graham’s studies offered much concrete pedagogical information.

Pamela Swing studied the development of fiddle instruction in the schools in Shetland.

However, Swing focused on describing repertoire and pacing rather than pedagogical methods. Dixie Zenger acknowledged the difficulty of trying to play traditional music without knowledge of stylistics; however, she did not investigate how to develop such instruction.

The fiddling instruction books on the market do not give adequate guidance about how to play within a style. They frequently describe what the notation for a technique looks like, rather than instruct the reader in how to execute it. Richard Riggs tried to

35 develop an Old-Time method book that would instruct in the style. Because he developed the book for a beginning violin class, he was unable to develop pedagogy for more than basic Old-Time bowing patterns.

Jazz pedagogy researchers have been exploring how to teach stylistic improvisation to students. They found that by creating and performing various forms of solo improvisatory transcriptions, students develop a vocabulary of stylistic ideas which they can use to formulate their own individual improvisations. Such methods were used within the format of the current study.

Ultimately, the construction of the current study was an instructional manual for the teacher; therefore, this study focused on the development of methods to teach the stylistic nuances inherent in Scottish fiddling rather than on how to play the instrument.

This project was designed to fill the pedagogical gap between ethnographic descriptions and published transcriptions to allow a violinist to perform in the authentic Scottish style.

It did so by combining ethnographic concerns for the authenticity of the style, stylistic transcriptions, and exercises for the development of stylistic improvisation.

36 CHAPTER 3

METHODS AND PROCEDURES

The purpose of the study was (1) to create instructional materials for Scottish fiddling consisting of a written manual and an accompanying DVD, and (2) to investigate the effects of these materials on the ability of classical music violin teachers to perform authentically Scottish fiddling.

This chapter provides detailed descriptions of the following: (1) the creation of instructional materials; (2) the preparation for testing of instructional materials; (3) the pretest and posttest meetings; (4) the preparation for video evaluation; and (5) the evaluation of videos.

The Creation of Instructional Materials

A manual was created to provide instruction on how to play Scottish fiddle tunes in an authentic manner. The manual contained four sections: (1) introductory material;

(2) instructional information and musical examples for learning how to play Scottish fiddle tunes authentically; (3) a section that includes potential solutions to exercises in the instructional section; and (4) a reference section. A companion DVD was also created to demonstrate the performance of various techniques and tunes. The researcher may be contacted to obtain a copy of the DVD.

37

Manual Section I: Introductory Material

The introductory section of the manual consisted of (1) an overview of the manual, (2) a description of the DVD, (3) a discussion of Scottish fiddling vocabulary,

(4) a brief overview of Scottish fiddling history, and (5) a timeline of Scottish fiddling related events.

Overview of the Manual

Section I of the manual contained introductory material: (1) an overview that explained what the reader can expect to find within the manual, and (2) a discussion of the playing techniques and traditional interpretations of the five most common tune types in Scottish fiddling. The tune types are the air, , march, reel, and strathspey.

Statements in the manual cautioned the reader that the successful completion of the manual would not make him or her an expert in the genre. It would have been naive to suggest that a simple manual could summarize and teach the nuances of a musical genre that many fiddlers devote a lifetime to learning and refining. Instead, the manual was intended to be used to establish basic Scottish fiddling skills that could be refined over time.

Instructions in how to use the manual followed. Working only through the manual sequentially was emphasized. Directions for how to use the Answer Section in the back of the manual were also included in the overview section.

DVD

It was suggested to the reader in the introduction to the manual that the accompanying DVD should be used to supplement his or her studies. The DVD contained

38 video recordings of all of the techniques and musical examples that appeared in the manual. Each recording became a chapter on the DVD. The DVD chapter numbers were marked beside the corresponding musical example in the manual. Finally, a practicing suggestion was given. This suggestion was to play the DVD clips repeatedly while practicing the different exercises.

Vocabulary

Scottish music vocabulary was discussed following the overview. Generally accepted Scottish fiddling terms were used throughout the manual. It is possible that some Scottish fiddlers may not use this particular jargon, though these terms are common

(Hunter, 1988). Additionally, some terms were coined for techniques that do not otherwise have any specific name (e.g., “BAAH slurs,” “yanks,” etc.). These new terms were developed for pedagogical use in the manual.

History

A brief history of Scottish fiddling was included in the introductory section. Its purpose was to give the reader a better understanding of the origins of the melodies in the manual. It also introduced the reader to some of the most historically prominent Scottish fiddling composers. Additionally, the evolution of Scottish was explained to allow the reader to understand why there is more than one type of strathspey.

Timeline

A timeline was included to illustrate how Scottish fiddling history corresponds to the political , as well as world history and classical music history.

Important Scottish political events were included, since they frequently influenced the composition, and/or the naming, of tunes. Major Scottish political personalities were also

39 included. These historical figures have also influenced the composition of Scottish fiddle music and are frequently referred to in tune titles. International wars in which Scotland has been active were also included as historical points of reference. Classical music composers of different stylistic eras were also included in the timeline. Prominent classical composers, such as J.S. Bach, Mozart, and Beethoven, were chosen since their work might have been known to various Scottish fiddlers. English composers, such as

Handel, Tallis, and Vaughan Williams, were included to illustrate the classical music that was being composed within the British Isles while various Scottish fiddlers were composing fiddle tunes. Finally, other significant classical music composers were added as reference points since they showed who was active in classical music when important events occurred in Scotland and in Scottish fiddling.

Playing Techniques

Two standard violin practices, the use of a fourth finger to substitute for an open string and the use of , were discussed in the introductory material as they pertained to Scottish fiddling. Scottish fiddling generally avoids using the fourth finger to substitute for an open string. Therefore, many open strings were marked as obligatory in the musical examples. Additionally, the discussion of the use of vibrato solely as an ornament alerted the reader to temper his or her use of vibrato.

Manual Section II: Instructional Materials

Airs and Ornaments

The instructional material began with the air, the slowest tune type. A variety of types of airs were defined and described. These airs included lamentations, laments, listening tunes, pastorals, piobaireachds, and slow songs. The section then segued into a

40 discussion of ornaments since, due to its slow tempo, the air provides the ideal format for a student to learn Scottish ornamentation. After ornaments, the musical phrasing, interpretive reading, and bowing of airs were briefly discussed.

The first ornament introduced was the hammer-on. It was defined, and an example was given. Then, four excerpts from airs were selected from Scottish fiddle music collections to serve as examples. They were selected due to their stereotypical use of the hammer-on in authentic Scottish fiddling. Next, hammer-ons were notated into three of the airs. Airs are traditionally notated without any ornamentation. The addition of the hammer-ons to the notation transformed the music into transcriptions of how airs are authentically performed. Then, these new transcriptions were added to the manual to function as technical exercises. Finally, a four-measure excerpt from the fourth air was offered as an exercise for the subject to add hammer-ons. The solution to the exercise was given in the Answer Section at the back of the manual.

Next, two variations on the basic hammer-on were introduced and defined. These variations are the long-distance hammer-on and the crunch. Examples of each were given. Then, three airs that require combinations of hammer-ons and long distance hammer-ons in authentic Scottish performance were selected from Scottish fiddling music collections. Next, hammer-ons and long distance hammer-ons were added into the notation of two of the airs. This resulted in the notation of those airs being transformed into transcriptions of how they are authentically played. Then, these new transcriptions were added to the manual to serve as technical exercises. Finally, the final air was offered as an exercise for the subject to add hammer-ons and long distance hammer-ons.

The solution to the exercise was given in the Answer Section at the back of the manual.

41 After the hammer-on ornaments, pull-off ornaments were introduced with a definition and example. A long Shetland listening tune and a Gaelic air were selected because they required the use of many pull-offs when performed authentically. Pull-offs were notated into the Shetland listening tune to turn it into a transcription of how it is authentically played. Then, the Shetland listening was added to the manual to be used as an exercise for the subject to practice pull-offs. Lastly, the Gaelic air was offered as an exercise for the reader to add pull-offs. The solution to the exercise was given in the

Answer Section at the back of the manual.

Tap ornaments were introduced next. They were defined, and their timing was discussed. Next, an exercise utilizing harmonics was written to enable the subject to tap with the correct amount of force and weight behind his or her finger. Then, four additional technique-building exercises for tap ornaments were written and added to the manual.

Combination ornaments were introduced and defined next. Combination ornaments are complex combinations of hammer-ons, pull-offs, and taps used together.

The hammer-on/tap combination was illustrated first. Then, four sets of technique- building exercises for the hammer-on/tap combination ornament were written and added to the manual. Next, three airs that require hammer-on/tap combination ornaments, hammer-ons, long distance hammer-ons, and pull-offs in authentic Scottish performance were selected from Scottish fiddling music collections. Then, the necessary ornaments were notated into the airs. This resulted in those airs being transformed into transcriptions of how they are authentically played. Finally, these transcriptions were added to the manual for musical practice.

42 The second type of combination ornament to be illustrated was the pull-off/tap combination. Then, five sets of technique-building exercises were written and added to the manual. Next, two excerpts of two different airs that use combination pull-off/taps were selected from Scottish fiddling music collections to act as musical practice exercises. Combination pull-off/taps and hammer-ons were notated into the airs, and the airs were added to the manual. Finally, a third excerpt of a different air was selected and added to the manual. This excerpt was to act as an exercise for the reader to add his or her own combination ornaments. The solution to the exercise was given in the Answer

Section at the back of the manual.

In summary, ornaments were separated into five categories: hammer-ons, pull- offs, taps, combination hammer-on/taps, and combination pull-off/taps. Airs or similar musical examples illustrating the techniques were shown after each ornament topic was introduced and practice exercises were given. There were exercises at the conclusion of each ornament presentation in which the reader could add in his or her own ornaments.

The Answer Section then included various plausible results that fit within the Scottish tradition.

The final section within the air chapter was a discussion of musical phrasing and interpretation in Scottish airs. A single air was chosen to represent Scottish musical phrasing and interpretation because it is commonly found notated in two different time signatures. Both versions were added to the manual. Then, a different single air was chosen to represent Scottish rhythmic interpretation. Two measures were excerpted from the air. Next, authentic bowings and ornaments were added to the notation of the tune, and the rhythms were altered to reflect authentic phrasing. The air was then added to the

43 manual. Finally, another air was selected and added to the manual in its original notated form. This tune was added with instructions for the subject to add his or her own bowings. The Answer Section then included various plausible results that fit within the

Scottish tradition.

Marches

An explanation of followed the airs. Marches can appear in 4/4,

2/4, cut time, or 6/8 time signatures. They are faster than airs and use frequent ornamentation. Therefore, they create a pedagogical bridge between the airs and the dance tunes. This section began with the introduction of the 2/4 and the 4/4 marches.

They are mostly played in the same manner despite their different time signatures. Also, they are likely familiar to classical violinists who have previously performed marches in classical music literature. A typical Scottish 2/4 march was selected. Ornaments and bowings were added to the notation, and the rhythm was changed to reflect the authentic manner of playing the tune. The march was then added to the manual. Finally, an excerpt from the same tune is presented in the manual in its original rhythms to illustrate how the tune might be found in a music collection.

A typical Scottish 4/4 march was then selected. Ornaments and bowings were added to the notation, and the rhythm was changed to reflect the authentic manner of playing the tune. The march was then was added to the manual.

Next, bagpipe marches were discussed, including their stereotypical range, mixolydian mode, and interpretation. Ornaments such as the unison and the Scottish- style turn were introduced and illustrated in this section. These ornaments were introduced at this point because they are not used frequently in airs, but are used in

44 marches and other tune types. Then, two marches, one in 4/4 time and one in cut time, were selected due to their authentic use of unisons and turns. Bowings and ornaments were added to the notation of the tunes. The two marches were then added to the manual.

The last type of march discussed in this section was the 6/8 march. First, the rhythmic idiom was described. Then, the standard form of the four-part 6/8 bagpipe march was discussed. Finally, a 6/8 bagpipe march was selected from Scottish music collections as an example. Ornaments and bowings were added to the notation of the tune, and the march was added to the manual.

The Jig

The discussion of tunes that are used in dance music followed the discussion of marches. Jigs were introduced first, since they are easier to perform in an authentic

Scottish manner than the reel and the strathspey. The jig’s bowings are not related to the bowings of the reel and strathspey since the jig is the only dance tune in compound duple time. Additionally, the jig rhythm was used in strathspey triplets, making it necessary for the rhythm to be introduced prior to the strathspey.

This section on jigs began with a detailed explanation of how to interpret the jig swing rhythm since the jig’s rhythm is integral to its identity. Then, the jig swing rhythm was pictorially compared to other similar-looking rhythms. Next, a simple exercise that practiced the jig rhythm was created and added to the manual. A jig was then selected from a Scottish fiddle music collection. Ornaments and bowings were added to the jig’s notation, and the jig was added as a musical exercise. Then, different jig bowing patterns were presented. Next, two jigs were selected. Both were presented without bowings or ornaments. These tunes were added with instructions for the subject to add

45 his or her own bowings and ornaments. The Answer Section then included various plausible results that fit within the Scottish tradition.

The Reel

The section about the reel followed the jig section. The reel’s subtle rhythmic alterations were discussed initially and were compared to other similar-looking rhythms.

Then, five different exercises practicing the physical execution of the rhythms were created and added to the manual. The purpose of these exercises was to prepare the subject for utilizing the rhythms in the tunes.

Then, the reel’s bowing patterns were introduced with the bowing style that is commonly called “hack bowing” (Hunter, 1988, p. xix). A reel was selected from

Scottish fiddling music collections to demonstrate the use of hack bowing. Bowings were added to the reel’s notation and added to the manual. Then, the concept of constantly accenting beats two and four was initially presented through this style of bowing. An example measure was created to illustrate the concept. Finally, another reel was selected as a musical exercise. Bowings and accents were added to its notation before it was added to the manual.

“BAAH slurs” were introduced next. BAAH slurs are slurs that exist for a beat and a half. They were illustrated in several of their different forms, and the physical technique of performing them was described. Then, three tunes were selected from

Scottish fiddling music collections based on their diverse manner of using BAAH slurs.

Bowings, including BAAH slurs, and ornaments were added to the original notation of the tunes. Then, the tunes were organized from simple to complex bowings. The first reel was notated in two different ways: one with hack bowing and one with BAAH slurs.

46 The second and third tunes were only notated using BAAH slurs. Finally, the tunes were added to the manual with brief descriptions attached to each of them.

The use of syncopation in reels, particularly in Shetland reels, was discussed next.

A standard Shetland reel was chosen from Shetland music sources to exemplify the use of syncopation and the use of BAAH slurs. Then, this tune was edited to illustrate how

BAAH slurs and other bowing patterns are used in such pieces. The use of ornaments in reels was then briefly discussed. Finally, five reels were selected. They were added to the manual without any bowings or ornaments. Their purpose was to function as improvisatory exercises that focus on the use of BAAH slurs. They were included to demonstrate the variety of possible bowings that exist within the tradition. The reader was then referred to the Answer Section for various bowing and ornamental interpretations that fit within the Scottish tradition.

The birl was then introduced as the manual continued the study of reels. Birls are right-handed, bowed ornaments that are found in both reels and strathspeys. The sound of the birl mimics the sound of the bagpipe ornament of the same name. It figures prominently in many tunes that are taken from the bagpipe repertoire or in tunes that are in a similar style. Two illustrations were created to convey how the birl is actually rhythmically played since it is notated in shorthand. That is, the birl is written as two sixteenth notes and one eighth note of the same pitch, yet it is played as an accented set of two thirty-second notes and a dotted sixteenth note. Then, four technical exercises were created to allow the subject to understand the physical mechanics of executing this technique. Finally, two reels were selected from Scottish fiddling music collections to be used as practice exercises. An additional reel was selected to be an improvisatory

47 exercise. The subject was then referred to the Answer Section for various plausible bowing and ornamental options that fit within the Scottish tradition for the improvisatory exercise.

The Strathspey

The strathspey section began with a brief history of the strathspey as a Scottish dance and musical genre. The section then introduced the “Scottish Snap.” The Scottish

Snap is the rhythmic motif that is idiomatic to all of the different types of strathspeys.

The Scottish Snap is written as one sixteenth note and an eighth note, though it is performed as a thirty-second note with a doubly-dotted eighth note. Examples were created to illustrate these differences. The manual also described the rhythmic nuances of playing the snap and the rhythmic reverse of the snap. Again, an example was created to illustrate the variations of the Scottish Snap.

Strathspeys are found in two different regional styles: the West Highland strathspey and the North-East strathspey. They are two equally important regional strathspey styles that are played for two different strathspey . The techniques needed to play strathspeys in the North-East style are generally more physically demanding than those of the West Highland style. Therefore, the West Highland strathspey began the strathspey section of the manual because of its simpler bowing style and predictable rhythms.

Descriptions about tempo, beat emphasis, and bowing recommendations began the section on the West Highland strathspey. Then, five West Highland strathspeys were selected from Scottish fiddling music collections. Bowings and ornaments were added to the notated versions of tree of the tunes to illustrate how a West Highland strathspey is

48 played. They were added to the manual first. Then, the other two tunes were left void of any bowings or ornamentation. These tunes were added to the manual to encourage the subject to improvise bowings and ornaments. The subject was then referred to the

Answer Section for various plausible bowing and ornamental options.

Discussion about the several different types of North-East style strathspeys began the next section. The North-East strathspeys were broached first because they are similar in rhythm to the West Highland strathspeys, yet they contain bowings that differ stylistically and are played at slightly different tempi. Three North-East style strathspeys were selected from Scottish fiddling music collections. Ornaments and bowings were added to the notations of two of them. Then, the edited strathspeys were added to the manual to provide examples of North-East style strathspeys. The third strathspey was presented without ornaments or bowings. It was added to the manual to encourage subjects to improvise bowings and ornaments. The subject was then referred to the

Answer Section for various plausible bowing and ornamental options.

After this, the interpretation of 16 th -note runs was introduced. Two practice exercises were created and added to the manual. Then, two strathspeys that use 16 th -note runs were selected from Scottish fiddling music collections. Ornaments and bowings were added to their notations. They were added to the manual. Their tempi were also discussed.

Next, the focus changed to triplet-runs. Examples of the various rhythmic interpretations of triplets were shown since they are seldom played as written. Examples of the mixing of such patterns during long triplet runs, including the jig rhythm, were created and then added to the manual. Two strathspeys that use long triplet runs were

49 selected from Scottish fiddling music collections. They were added to the manual as exercises to add bowings, ornaments, and rhythms. The subject was then referred to the

Answer Section for various plausible bowing and ornamental options. The section concluded with a brief explanation of potential stylistic treatments of the rhythmic sets of two sixteenths/one eighth and one eighth/two sixteenth notes. Examples were created and added to the explanations to illustrate the rhythms.

Lastly, the “up-driven bow” technique was introduced with a description of its characteristic rhythms and notation. Technical advice for how to accomplish physically an up-driven bow stroke was given next. Then, two strathspeys that use the up-driven bow were selected from Scottish fiddle music collections. Ornaments and bowings were added to the notations of the tunes, and they were added to the manual as practice examples. Two additional tunes were selected. These final tunes, which lacked any bowings or ornaments, were added to the manual as improvisatory exercises. The

Answer Section was mentioned as a reference for various plausible bowing and ornamental options.

Manual Section III: Answer Section

The third section of the manual was the Answer Section. It was comprised of the answers from all of the improvisatory exercises from the entire manual. All of the music in this section was a full transcription of how the researcher performed the music in an authentic Scottish fiddling style. Ornaments and bowings were included in all of the music in this section. Many of the answers illustrated several different versions of the same tune. Each version showed different bowings and ornaments. However, it was noted that combinations of the bowings or ornaments from between the different options

50 are also acceptable. Each answer included a video-recorded example on a DVD, so the reader would be able to see and hear the differences between the options.

Manual Section IV: Reference Material

The fourth section of the manual was comprised of reference material. Appendix

A in the manual was a list of additional listening resources that the researcher created.

The list detailed the artists, their primary regional style, and their recording information.

A suggested music resource appendix (Appendix B) was also created by the researcher.

It listed major collections of Scottish fiddling music. The researcher also created a map which became Appendix C. Appendix C was a map that conveyed regional styles and indicated places after which different tunes in the manual were named. This section of the manual concluded with a tune index and a topical index.

Preparation for Testing of Instructional Materials

Reviewers

Once the manual was completed, it was reviewed in order to establish content validity. Violin pedagogues were needed to evaluate the pedagogical content. Scottish fiddling experts were needed to evaluate the descriptions of Scottish techniques used in the manual. Additionally, the Scottish fiddling experts were needed to determine if the music selections contained within the manual were good representations of authentic

Scottish fiddling repertoire.

Eight violin pedagogues and six Scottish fiddling experts were invited to review the instructional materials. The violin pedagogues were solicited based on Suzuki certification level, reputation of the employer, and years of teaching. Five of the eight violin pedagogues agreed to participate. Two were Suzuki-certified violin teachers who

51 had routinely taught at Suzuki institutes across the United States; one was a youth string orchestra director; one was a private violin teacher who had recently retired from a major professional orchestra; and one was a string education specialist at a school of music at a local university.

Scottish fiddling experts were defined as being Scottish Fiddling Revival

(Scottish F.I.R.E.) sanctioned judges. Of the six solicited Scottish fiddling experts, three agreed to participate. The Scottish fiddling experts were all Scottish Fiddling Revival

(Scottish F.I.R.E.) sanctioned judges. They also had won a combined total of thirteen national championships.

The First Review of the Manual

Two forms were created to facilitate the evaluation of the manual prior to its first review by the pedagogues and Scottish fiddling experts. The first form was an open- ended questionnaire that solicited suggestions for improving the manual. Both the violin pedagogues and the Scottish fiddling experts received a copy of this form. The second form was a Likert-scale assessment form (Appendix B). The violin pedagogues and

Scottish fiddling experts received different versions of the Likert-scale forms. The

Likert-scale form for the violin pedagogues was used to assess (1) the overall pedagogical soundness of the manual and (2) the potential of the manual to instruct the subject. The Likert-scale form for the Scottish fiddling pedagogues was used (1) to assess the potential of the manual to instruct the subject in authentic Scottish fiddling, (2) to evaluate the choice of music selected for inclusion in the manual, and (3) to assess the potential of the manual to instruct the subject pedagogically.

52 The initial draft of the manual and the two reviewing forms were sent to the reviewers. All eight reviewers returned the forms to the researcher once they had reviewed the manual.

The Creation of Subject Forms and Questionnaires

The Participant Application Form and Questionnaire and the Completion of

Participation Questionnaire (Appendix C) were created during the first review of the manual. The Participant Application Form and Questionnaire were designed to determine subject eligibility and to discover the subjects’ beliefs about Scottish fiddling, fiddling in general, teaching fiddling, and improvisation. The Completion of

Participation Questionnaire was designed to assess whether any of the subjects’ beliefs had changed over the course of the study. It was also designed to assess the subject’s beliefs about his or her own fiddling skills.

The Participant Application Form and Questionnaire

The first half of the participant application form was used to determine if the potential subject’s background made him or her eligible to participate in the study. The form asked the subject if he or she had any previous fiddling experience, if he or she currently tried to teach fiddling to his or her students, and how long he or she had played the violin. Subjects were also asked to describe his or her violin training background including collegiate degrees. Only subjects who held a degree in music and did not have any experience with fiddling were invited to participate in the study.

The second half of the participant application form was a Likert-scale questionnaire. It was comprised of eight questions that asked the potential subject to give his or her opinions on teaching fiddling, playing fiddling, improvisation, Scottish

53 fiddling, and the place of fiddling in traditional violin instruction. Their responses could then be used at the completion of the study to show any change in their views. This half of the entrance form did not affect the subject’s eligibility to participate in the study.

The Completion of Participation Questionnaire

The Completion of Participation Questionnaire was solely a Likert-scale questionnaire. It again requested the subject’s opinions on teaching fiddling, playing fiddling, improvisation, elements of Scottish fiddling, and the place of fiddling in traditional violin instruction. There were more questions on the Completion of

Participation Questionnaire than on the Participant Application Form and Questionnaire.

This was because the Completion of Participation Questionnaire requested the subject’s opinion on topics that were included in study. There were sixteen questions. These questions are found in Appendix C.

First Revision of the Manual

Revisions and edits to the manual were then completed according to the suggestions and feedback from the pedagogues and Scottish fiddling experts. Three additions were made to the manual, consisting of a table of contents and two appendices

(Manual Appendix A: Additional Listening and Manual Appendix B: Suggested Music

Resources). The sequencing of the timeline and map in the manual was also reorganized based upon suggestions by the reviewers.

The Scottish fiddling experts also reviewed the appropriateness of the music selected for the manual during the first review. Their individual responses indicated that the music selected was a good representation of authentic Scottish fiddling music. The instructional DVD was then created after the researcher received approval from the

54 Scottish fiddling experts regarding the appropriateness of the music selected for the manual.

Instructional DVD

Creation of the DVD

An instructional DVD was created for this study as a companion to the manual.

The DVD was created after the repertoire in the manual had been approved by the

Scottish fiddling experts. The DVD was designed to contain video recordings of all of the music contained in the manual. Its purpose was to provide aural and visual examples of the techniques and of the tunes that the subjects would study as they worked through the manual.

The researcher, an experienced Scottish fiddler, performed all of the music from the manual and recorded the examples over a period of several days in a home recording studio. A Panasonic Hard Disk Video Camera SDR-H80P digital video recorder was used. The camera was positioned to show the researcher’s right arm and hand as she demonstrated bowing patterns and techniques. Depending on the focus of the video being recorded, the video camera was also positioned to show the researcher’s left-hand ornaments.

A narrator introduced each video recording. The technical focus and the title of each tune or exercise were announced before the researcher began to play.

All of the complete tunes, all of the transcriptions from the Answer Section, and many of the technical exercises were recorded for the DVD. Only the exercises which were redundant to show were not recorded for the DVD.

55 Organization of the DVD

When the recording was completed, the videos were uploaded to a computer.

Then, the videos were edited using the editing software that came with the video camera.

The editing software enabled the videos to be edited into seventy-eight different clips.

Each clip contained a single musical example that was introduced with a title screen.

The typical length of each clip was between thirty seconds and one minute fifteen seconds, depending on the technique or tune that was being demonstrated.

The organizational goal of the DVD was to allow the viewer to select any of the seventy-eight different clips from the main menu. Therefore, all seventy-eight video clips were numbered and arranged according to their location in the manual. The manual was marked with corresponding DVD chapter numbers by each notated example. These clips were as individual chapters on the DVD. The overall length of the DVD was fifty- seven minutes.

The Second Review of the Manual

After the DVD was completed, the chapters were uploaded to a secure and private viewing area on www.youtube.com. Then, each reviewer was sent the second draft of the manual, instructions about how to view the DVD chapters online, and two evaluation forms. The first form was the same open-ended questionnaire that asked for suggestions for improving the manual that the reviewers had previously used, and the second form was a Likert-scale assessment form (Appendix B). The violin pedagogues and Scottish fiddling experts received different versions of the Likert-scale forms. The Likert-scale form for the violin pedagogues again assessed the overall pedagogical soundness of the manual and the potential success of the manual to instruct the subject. However, this

56 time, the Likert-style form for the Scottish fiddling pedagogues (1) assessed the potential of the manual to instruct the subject in authentic Scottish fiddling, (2) assessed the potential of the manual to pedagogically instruct the subject, and (3) evaluated the performances in the DVD chapters.

Once they had reviewed the manual and the DVD chapters, all eight reviewers returned the forms to the researcher. The violin pedagogues and the Scottish fiddling experts approved of the second draft of the manual. No more suggestions for changes were made. The Scottish fiddling experts also approved of the performances in the DVD chapters. Therefore, the manual and DVD was duplicated so that each participant would receive his/her own copy of each instructional material.

Creation of Participant Log

A standardized log entry form (Appendix F) was created while the manual and

DVD chapters were being evaluated by the violin pedagogues and Scottish fiddling experts. As data collection devices, the log entry forms were used to help the subject chronicle his or her time spent studying the manual and/or the DVD. The log was created as a booklet of thirty identical log entry form pages since the subjects were to have the manual and DVD for a month. Therefore, a subject could use a page every day. Each page was to be marked with a subject code by the researcher prior to the subject’s use of the log. The log asked for the amount of time spent with the manual during the practice session and for comments about the process and the manual.

Study Participants

Potential subjects were invited to participate in the study during the second review of the manual. Potential subjects were identified as classical violin teachers residing or

57 working within western Pennsylvania or eastern Ohio. They were found through public- access professional association membership lists, school district website searching, and by word of mouth. Invitations to participate were sent by hand, by verbal request, and through e-mail. Ninety-one violin teachers were contacted. These teachers included public school teachers, private studio teachers, and Suzuki teachers. Ten violin teachers agreed to participate in the study. Five of the subjects were instructors in the public schools. Five were private violin lesson teachers. Finally, individual pretests were scheduled with each subject.

Pretest and Posttest Meetings

Two different types of materials were used during the pretest. The first type of material was the Participant Application Form and Questionnaire. The second type of material was music which the subject was expected to perform on his or her violin. This music was selected while the researcher waited for the potential participants to respond to the invitation to participate in the study.

Music From Outside of the Manual

Music from outside of the manual (Appendix E) was chosen from Scottish fiddling music resources for use during the pretest and again later for the posttest. The tunes selected were similar to the tunes in the manual. These characteristics included similar time signatures, rhythmic motives, potential bowing patterns, and levels of technical difficulty.

The tunes were organized by type and were presented in the same sequence as in the manual. They were notated without slurs, ornamentation, or tempo markings. Only pitches, rhythms, and occasional dynamics were present in the notation. This copy of the

58 music without slurs, ornamentation, or tempo markings was used to give subjects the opportunity to improvise bowings and ornaments. This clean copy was also used to give subjects the opportunity to set their own tempo. The purpose of the clean notation was to enable the subjects to convey their understanding and playing proficiency of the Scottish style.

Fourteen tunes of the following types were selected for use in the collection of music that was not included in the manual: two airs, two marches, one jig, two non- birling reels, one birling reel, one West Highland strathspey, two basic North-East strathspeys, one North-East strathspey with triplets, one North-East strathspey with sixteenth note runs, and one North-east strathspey with potential up-driven bows. The two airs used two different time signatures: one was in 6/8, and one was in 3/4. The airs also had different music phrase structures.

The selection of two marches included marches in two different time signatures:

4/4 and 6/8.

The two non-birling reels were similar since they were both reels. However, they were different due to the potentially implied bowings. Additionally, one was a highland reel, while the other was a traditional reel that is associated with the Shetland style of bowing. This reel was provided to give an opportunity for BAAH slurs.

The two basic North-East strathspeys were different because one had the potential for rhythmic interpretation while the other did not.

Pretest Meeting Procedure

The researcher then met individually with each of the potential subjects. The following events occurred at the first meeting with the potential subject: (1) the potential

59 subject signed an IRB consent form; (2) the potential subject filled out a study entrance form; (3) the subject’s eligibility was determined upon review of the entrance form; (4) the testing process was explained again; and (5) the subject was video-recorded performing the pre-selected collection of music that was not included in the manual.

The eligible participants were given the study instructional materials at the end of the meeting. Only subjects without previous instruction in Scottish fiddling, Irish fiddling, or other similar styles (e.g. Swedish fiddling) were eligible to participate.

The subject was then video-recorded sight-reading the fourteen tunes that were not included in the manual. The subject was allowed to start over if he or she perceived that an error had been made. Such action was neither encouraged nor discouraged by the researcher. It was the subject’s choice. The researcher ran the video recorder and was present throughout the recording, but did not give any instruction or help to the subject.

The subject was presented with the manual, the DVD, and the log at the conclusion of the meeting. A subject code based on the subject’s professional identity

(private teacher or school teacher) was assigned by the researcher and was written into the logs. The subjects were asked to complete a log form each time he or she used the manual and/or the DVD. They were asked to include the total approximate time spent during the current practice session and any comments about their practicing and/or studying of the manual and DVD. Neutral vocabulary was used when subjects were given instructions on how to use the instructional materials. Subjects were not given any verbal instruction in Scottish fiddling pedagogy. The researcher did not establish any expectations for achievement when communicating with the subjects. This tactic was used to emphasize a high degree of subject independence.

60 The posttesting session was scheduled for a month later. The music that was not included in the manual was collected before the subject was allowed to leave. The subject was not told which tunes from the manual would be used in the posttest to ensure fair treatment of all of the tunes within the manual. The pretest meeting lasted approximately one hour.

Music That Appears in the Manual

While the subjects were working through the manual, the researcher selected tunes from the manual to be used as part of the posttesting materials. The music from the manual was used to determine if the participants could execute authentic Scottish bowings and ornaments when provided with a notation that included authentic Scottish bowings and ornamentation. This was necessary for the researcher to assess the subjects’ physical mastery of Scottish techniques independent of improvisation. The participants were supposed to have practiced the tunes during their course of study with the manual.

A tune from each instructional category (i.e. airs, marches, jigs, etc.) was included, along with tunes that demonstrated a specific technique such as triplets or the up-driven bow. The following tunes were included: an air, a march, a jig, a non-birling reel, a birling reel, a West Highland strathspey, a basic North-East style strathspey, a

North-East style strathspey with triplets, a North-East style strathspey with sixteenth note runs, and a North-East style strathspey with an up-driven bow. These tunes’ titles were, respectively: The Arran Boat Song , Scott Skinner’s Compliments to Dr. MacDonald , Mr.

Charles Graham’s Welcome Home , Clach na Cudain ( The Cross of ), The Pipe

Slang , Alasdair MacAlasdair , Hallow E’en , Captain Campbell , The Fisher’s Rant , and

The Kirrie Kebbuck .

61 Preparation for the Posttest Meeting

Five days prior to the scheduled posttest, the subjects received the music that was not included in the manual for the posttest and the list of tunes from the manual that were to be video-recorded. This information was sent to the subject by postal mail or by e- mail, depending on the subject’s preference in communication. The subjects then had five days to analyze and study all of the tunes that would be recorded at the posttest.

The Posttest Meeting Procedure

The researcher met with each subject individually for the posttest. At the posttest, the subject completed the Completion of Participation Questionnaire, and his or her log was collected. The subjects were then video-recorded. He or she was asked to play through the ten previously selected transcriptions from the manual and the set of fourteen tunes that were not included in the manual. The order in which the tunes were performed was left up to the subject’s discretion. The subject also was allowed to start over if he or she perceived that an error had been made. However, such action was neither encouraged nor discouraged by the researcher. As in the pretest, the researcher ran the video recorder and was present throughout the recording, but did not give any instruction or help to the subject. Following the recording, the subject was thanked for their participation. The second meeting lasted approximately one hour for each subject.

Preparation for Video Evaluation

Creation of the DVDs

Once the posttest meetings were completed for all of the subjects, the pretest and posttest recordings were organized for rating by the Scottish fiddling experts. First, the videos of each subject’s performances from the pretest and posttest were uploaded to a

62 computer and edited to eliminate dead-time. Each tune was then separated from the continuous video into a single video clip. There were thirty-eight total video clips for each subject. Next, all of the subjects’ video clips were organized so that all of the tunes that were not included in the manual were separated from the tunes that did appear in the manual.

The video clips of the tunes that did not appear in the manual were arranged to appear prior to the video clips of the tunes that did appear in the manual. The video clips of the tunes that were not included in the manual consisted of pretest and posttest clips.

The pretest clip of each tune appeared first, followed immediately by the posttest clip of the same tune. The tunes with their pretests and posttests remained in the original order of presentation. These details are enumerated in Table 1.

After this, the video clips of tunes from the manual were added. These tunes were presented in the order in which they appeared in the manual (Table 1).

63

Subject Non-Manual Tune Tests Manual Tune Tests 1 Tune 1 Tune 1 Tune 2 Tune 2 Tunes 3 – 14 Tune 1 Tune 1 Tunes 2 – pretest posttest pretest posttest pretests and Pretest Posttest 6 pretests posttests and continued posttests according to continued same order according as those of to same Tunes 1 and order as 2 those of Tune 1 2 Tune 1 Tune 1 Tune 2 Tune 2 Tunes 3 – 14 Tune 1 Tune 1 Tunes 2 – pretest posttest pretest posttest pretests and Pretest Posttest 6 pretests posttests and continued posttests according to continued same order according as those of to same Tunes 1 and order as 2 those of Tune 1 3-10 The same ordering occurred for the pre- and posttests of all of the tunes as is shown above for subjects 1 and 2.

Table 1. The Method of Arrangement of Tune Assessment Video Clips for Scottish Fiddle Experts

Once the video clips of the tunes were in their final order, they were turned into chapters for a DVD, and the DVD was created. One DVD was made for the performances of each subject. A total of ten DVDs were created.

Creation of the Video Evaluation Forms

A Likert-scale assessment form was then created for the Scottish fiddling experts’ evaluations of the videos of the subjects. The criteria used to evaluate the subjects’ performances were the same as those which are used on a Scottish Fiddling Revival

(Scottish F.I.R.E.) competition evaluation form. This meant the study would be evaluating authentic Scottish playing in the same manner in which it was assessed by the

64 national association for Scottish fiddling. Scottish F.I.R.E. is the only sanctioning agency for Scottish fiddling judges and competitions in North America.

A one-page form was created for each DVD clip (Appendix I). The same questions were included for each tune regardless of the tune-type or origin of the tune

(i.e., tunes that were not included in the manual versus tunes that were included in the manual). The Scottish fiddling experts used a rating scale from one (strongly disagree) to five (strongly agree) to indicate their opinion on the following questions. An option for

“not applicable” was included for every question. The questions were:

1. The subject’s left-hand ornaments are fully consistent with the authentic

Scottish style of ornamentation.

2. The subject’s execution of right-hand ornaments (birls) is fully consistent with

the authentic Scottish style. (Birls are written into the music and are not subject

to interpretation.)

3. The subject’s tempo is fully consistent with the Scottish style of this tune type.

4. The rhythms that the subject chose to execute (as opposed to the written

rhythms) are fully consistent with the Scottish style of this tune type.

5. The subject’s choice of bowings is fully consistent with the Scottish style of

this tune type.

6. Overall, I believe that this subject is performing in an authentically Scottish

style.

Video Evaluation

The Scottish fiddling experts convened for one day to evaluate the videos. The pretest and posttest video clips were then given to the Scottish fiddling experts for their

65 evaluations of the subjects’ performances. The evaluation process was conducted in a format similar to the adjudication of a Scottish F.I.R.E. national competition. The DVDs of the subjects were randomly ordered and played to the evaluators to rate. The Scottish fiddling experts viewed the video clips of each subject in their entirety. The experts independently assessed each subject’s performance by rating the extent to which the rhythm, tempo, and overall performance were consistent with the Scottish style. None of the performances was discussed by the evaluators during evaluation.

The Scottish fiddling experts were thanked once the assessment was completed, and the rating forms were collected. The rating forms were then collated and sent to the

Ohio State University Statistical Consulting Service for processing. SPSS software was used to generate the statistical results.

66 CHAPTER 4

RESULTS

Introduction

This chapter contains the results of the tests used in this study. The purpose of this investigation was 1) to assess the ways in which the subjects viewed aspects of

Scottish fiddling before and after the study, 2) to create instructional materials that had the potential to teach authentic Scottish fiddling, and 3) to assess the ability of the instructional materials to teach authentic Scottish fiddling.

Subjects

Ten subjects participated in this study. At the first meeting, each subject chose the educational level that best described his or her violin training background. The following table shows how the different degrees that the subjects received in music.

Artist Master’s Doctoral Other Bachelor’s Degree Dip. Degree Degree

Music B.A.- Violin Music Violin Violin Music Violin Music Minor Music Perf. Perf. Ed. Perf. Perf. Ed. Perf. Ed. Number of 1 1 1 1 2 0 3 1 0 0 Subjects

Table 2. Music Degrees Held by Subjects

67

Subjects’ Views of Scottish Fiddling Before and After the Study

Pretest

The subjects completed the Application to Participate and Questionnaire at the beginning of their first meeting. On the questionnaire, they rated their opinions about the following statements on a five-point Likert scale that ranged between -2 (strongly disagree) to 2 (strongly agree) (Figure 4).

Strongly Disagree Disagree ’t Know Agree Strongly Agree

-2 -1 0 1 2

Figure 4. Scale subjects used to rate their opinions during pretests and posttests.

The results of the subjects’ opinions during the pretest are as follows:

68

Sa Statement M Mdn SD 1 Fiddling is important to teach to any violin 1.10 1.00 0.316 player. 2 All violinists should be able to play in more 1.80 2.00 0.422 than one genre (ex. Classical, jazz). 3 The skills gained in Scottish fiddling are 0.70 0.50 0.823 important techniques for use in classical violin music. 4 I can identify the unique stylistic features of -1.00 -1.00 0.943 Scottish fiddling as distinct from other forms of fiddling by ear. 5 I am comfortable generating my own 0.60 1.00 1.265 ornamentation within the constraints of a style (ex. Baroque). 6 I am comfortable improvising. 0.40 1.00 1.265 7 Scottish fiddling as a musical genre is 1.20 1.00 0.789 valuable to study even for a violinist who does not have Scottish heritage. 8 I would like to incorporate Scottish fiddling 1.20 1.00 0.789 into my teaching.

aS = Statement bSubject n = 10

Table 3. Subjects’ Opinions During Pretest b

A median value of 1 indicated “agree” on the Application to Participate and

Questionnaire. Therefore, the subjects agreed with statements 1, 5, 6, 7, and 8. The median of Statement 2 was 2. Therefore, it appears that the subjects strongly agreed that

“all violinists should be able to play in more than one genre (ex. Classical, jazz).”

Statement 4 had a median of -1. That result suggests that the subjects did not believe that they could “identify the unique stylistic features of Scottish fiddling as distinct from other forms of fiddling by ear.” Statement 3, “The skills gained in Scottish fiddling are important techniques for use in classical violin music,” received a median of 0.5. This

69 rating indicated that the subjects were generally uncertain, but leaned toward agreeing with the statement.

Posttest

The subjects completed a Completion of Participation Questionnaire at their second and final meeting. The form included statements similar to the first form. On the

Completion of Participation Questionnaire, the subjects rated their opinions about the following statements on a five-point Likert scale in which -2 was strongly disagree, 2 was strongly agree, and 0 was don’t know.

The results of the subjects’ opinions during the posttest are as follows:

70

Sa Statement M Mdn SD 1 Fiddling is important to teach to any violin 1.10 1.00 0.316 player. 2 All violinists should be able to play in more 1.70 2.00 0.483 than one genre (ex. Classical, jazz). 3 The skills gained in Scottish fiddling are 1.20 1.00 0.919 important techniques for use in classical violin music. 4 I can identify the unique stylistic features of 1.40 1.00 0.516 Scottish fiddling as distinct from other forms of fiddling by ear. 5 I am comfortable improvising. 0.20 1.00 1.317 6 Scottish fiddling as a musical genre is valuable 1.80 2.00 0.422 to study even for a violinist who does not have Scottish heritage. 7 I would like to incorporate Scottish fiddling 1.20 1.00 0.789 into my teaching. 8 I feel that I can successfully add Scottish 0.50 1.00 1.080 idiomatic bowings into reels. 9 I understand the differences between a 0.00 0.00 0.816 Highland strathspey and a North-East style strathspey. 10 I believe that my classically trained violin 1.60 2.00 0.699 background has been an asset to my learning how to play in the Scottish style. 11 I feel confident that I can interpret most un- 0.40 1.00 0.843 edited Scottish fiddle tunes correctly. 12 I feel that I can successfully add Scottish 0.20 0.50 0.919 idiomatic bowings into strathspeys. 13 I feel that I can successfully add Scottish 0.90 1.00 0.876 idiomatic ornaments into airs. 14 I believe that I can accurately demonstrate a 1.00 1.00 0.471 birl. 15 I feel that I can accurately demonstrate a tap 1.40 1.00 0.516 ornament. 16 I would like to continue to play Scottish 1.80 2.00 0.422 fiddling music after the completion of this study.

aS = statement bSubject n = 10

Table 4. Subjects’ Opinions During Posttest b 71 A median value of 1 indicated “agree” on the Completion of Participation Questionnaire.

Therefore, the subjects agreed with statements 1, 3, 4, 5, 7, 8, 11, 13, 14, and 15. The statements with a median value of 2 all indicated strong agreement from the subjects.

These statements were numbers 2, 6, 10, and 16. Statement 9 had a median of 0 which means that the subjects were generally unsure if they understood the differences between a Highland strathspey and a North-East style strathspey. Statement 12, with a median of

0.5, indicated that the subjects were generally uncertain, but leaned toward agreeing with the statement, “I feel that I can successfully add Scottish idiomatic bowings into strathspeys.”

Pretest and Posttest Comparison

Seven identical statements were posed at both the beginning and the conclusion of the study. The subjects’ opinions about the statements at the two different points in time were compared to see if their beliefs changed during the course of study. A paired t-test was used to determine whether the changes were statistically significant.

The comparison results of the subjects’ opinions during the pretest and during the posttest are as follows:

72

Paired Difference Sa Statement M SD p 1 Fiddling is important to teach to any violin The pretest and posttest means are the same; therefore, a paired-t test would not player. show a difference. 2 All violinists should be able to play in more -0.100 0.316 0.343 than one genre (ex. Classical, jazz). 3 The skills gained in Scottish fiddling are 0.500 0.850 0.096 important techniques for use in classical violin music. 4 I can identify the unique stylistic features of 2.400 0.843 0.000 Scottish fiddling as distinct from other forms of fiddling by ear. 5 I am comfortable improvising. -0.200 0.632 0.343 6 Scottish fiddling as a musical genre is 0.600 0.699 0.024 valuable to study even for a violinist who does not have Scottish heritage. 7 I would like to incorporate Scottish fiddling The pretest and posttest means are the same; therefore, a paired-t test would not into my teaching. show a difference.

aS = statement bSubject N = 10

Table 5. Comparison of Subjects’ Opinions Between Pretest and Posttest b

The subjects agreed to the first statement on both the pretests and posttests. However, their mean response to the first statement did not change between the pretest and posttests. Therefore, a paired t-test would not have shown any difference. This suggests that the subjects’ views about teaching fiddling did not change between the pretests and the posttests. Therefore, the subjects’ beliefs about teaching fiddling were unchanged by their use of the instructional materials.

There was no significant difference ( p = 0.343) between pretest and posttest ratings on the second statement, “All violinists should be able to play in more than one

73 genre.” This indicates that the subjects’ strong agreement with that statement was unchanged by their use of the instructional materials.

The difference between the mean responses to the third statement, “The skills gained in Scottish fiddling are important techniques for use in classical music,” resulted in a significance value of p = 0.096. Therefore, there was no significant difference between the subjects’ beliefs before and after the study since p > 0.05.

The difference between the mean responses to the fourth statement, “I can identify the unique stylistic features of Scottish fiddling as distinct from other forms of fiddling by ear,” had a significance of p = 0.000. The difference is statistically significant since p < 0.05. Therefore, the instructional materials appeared to have improved the subjects’ beliefs about this statement.

The difference between the mean responses to the fifth statement, “I am comfortable improvising,” had a significance of p = 0.343. Therefore, there is no significant difference between the subjects’ beliefs before and after the study since p >

0.05. Therefore, the subjects’ agreement with that statement was unchanged by their use of the instructional materials.

The difference between the mean responses to the sixth statement, “Scottish fiddling as a musical genre is valuable to study even for a violinist who does not have

Scottish heritage,” had a significance of p = 0.024. In the pretests, the subjects agreed with this statement on average. In the posttests, the subjects agreed strongly with this statement on average. This difference is statistically significant since p < 0.05.

Therefore, the instructional materials appeared to have changed the subjects’ beliefs about this statement.

74 The means for the seventh and final statement, “I would like to incorporate

Scottish fiddling into my teaching,” were the same for both the pretests and posttests.

Therefore, a paired t-test would not show any difference. This suggests that the subjects’ views about incorporating Scottish fiddling into their teaching did not change as a result of their use of the instructional materials.

The Assessment of the Instructional Materials

The second purpose of this study was to create instructional materials that had the potential to teach authentic Scottish fiddling. The instructional materials were evaluated by the violin pedagogues and Scottish fiddling experts in order to answer the second question. The pedagogues rated the following statements after the initial review of the manual:

S1. The sequencing in this manual makes pedagogical sense.

S2. The technical descriptions are understandable.

S3. The musical examples appear to be well matched to the technique that they

are illustrating.

The Scottish fiddling experts rated the following statements after the initial review of the manual:

S1. The tunes included in this manual are a good representation of the traditional

Scottish fiddling repertoire.

S2. The technical descriptions are understandable.

S3. This manual appears to be an effective way to teach authentic Scottish

fiddling.

75 The manual was edited to conform to the suggestions of the pedagogues and the

Scottish fiddling experts once the initial manual reviews were completed. The DVD was created after the edits of the manual were completed. Both the manual and the DVD were sent back to the pedagogues and the Scottish fiddling experts for their evaluations when the DVD was completed.

The pedagogues rated the following statements for the second review of the manual:

S1. The sequencing in this manual makes pedagogical sense.

S2. The technical descriptions are understandable.

S3. The musical examples appear to be well matched to the technique that they

are illustrating.

The Scottish fiddling experts rated the following statements for the second review of the manual:

S1. The tunes included in this manual are a good representation of the traditional

Scottish fiddling repertoire.

S2. The performances in the video clips convey the traditional Scottish fiddling

style accurately.

S3. This manual appears to be an effective way to teach authentic Scottish

fiddling.

Table 6 illustrates the ratings of the Likert-style questionnaires by the pedagogues and Scottish fiddling experts. The scale of ratings is conveyed in Figure 5.

76 Strongly Disagree Disagree Don’t Know Agree Strongly Agree

1 2 3 4 5

Figure 5. Scale used to evaluate the manual.

1st 2nd Pedagogues Statement Review Review 1 S1 5 5 S2 4 5 S3 5 5 2 S1 5 5 S2 4 5 S3 5 5 3 S1 5 5 S2 2 5 S3 5 5 4 S1 5 5 S2 4 5 S3 5 5 5 S1 5 5 S2 5 5 S3 5 5 Mean Rating 4.6 5 Median Rating 5 5

Scottish Fiddling 1st 2nd Experts Question Review Review 1 S1 5 5 S2 5 5 S3 5 5 2 S1 5 5 S2 5 5 S3 5 5 3 S1 4 4 S2 4 5 S3 5 5 Mean Rating 4.8 4.9 Median Rating 5 5

Table 6. Likert-style Manual Evaluations by Pedagogues and Scottish Fiddling Experts

77 The change in means between the first and second reviews reflects a shift in the violin pedagogues’ and Scottish fiddle experts’ perceptions of the instructional materials. The pedagogues’ mean ratings increased from 4.6 to 5 and the Scottish fiddling experts’ mean ratings increased from 4.8 to 4.9 over the two reviews. The manual received an overall median score of 5 and an overall mean score of 4.95 when the scores from the pedagogues and the Scottish fiddling experts were combined. These results suggest that the reviewers strongly agreed that the manual was pedagogically accurate. These results also suggest that all of the reviewers strongly agree that the instructional materials may be successfully used for instruction of authentic Scottish fiddling.

The Assessment of Subjects’ Performances

The third question purpose of this study was to assess the ability of the instructional materials to teach authentic Scottish fiddling. All of the subjects’ performances of tunes from the manual and outside resources were video-recorded and then evaluated by the Scottish fiddling experts to address the third question. The assessment produced data that were then analyzed and, when possible, compared.

Inter-Judge Reliability for the Assessment of Tunes from the Manual

An intra-class correlation was used to determine inter-judge reliability with respect to Scottish fiddle experts’ ratings of the posttests of the subjects’ performances of the tunes from the manual. An intra-class correlation was used since the intra-class correlation coefficient (ICC) “represents agreements between two or more raters or evaluation methods on the same set of subjects”(Portney & Watkins, 2000). In this test, the ICC was found to be 0.697. An ICC of 0.697 is considered to indicate a strong agreement between the different raters.

78 Performance of Tunes from the Manual

The subjects were asked to perform ten tunes from the manual at the conclusion of the study. The following results suggest how comfortable the subjects were with performing the Scottish techniques when they were able to read the techniques from the music instead of inserting the techniques in themselves. The Scottish fiddle experts rated the overall Scottish authenticity of the subjects’ performances.

The tunes for this portion of the examination were not video-recorded during the pretest since they came from the manual and already had aspects of Scottish fiddling notated in them. The tunes from manual were only video-recorded during the posttest.

Therefore, there was only one set of evaluations for these tunes. Only descriptive statistics were used to evaluate the subjects’ performances.

The Scottish fiddling experts evaluated each subject’s performance on a six- statement Likert-scale questionnaire. On the form, 1 was “strongly disagree” and 5 was

“strongly agree” (Figure 6). The following tables (Table 7 and 8) report the Scottish fiddling experts’ raw assessment data for subject ST1 as an example and the mean and median ratings of the subjects’ performances across all of the manual tunes.

Strongly Disagree Disagree Don’t Know Agree Strongly Agree

1 2 3 4 5

Figure 6. Scale used to evaluate subjects’ performances of tunes from the manual.

79

Evaluating Statements Subject Tune TuneName a Judge 1 2 3 4 5 6 ST1 1 Arran A 5 5 5 5 5 B 4 4 4 4 4 C 5 5 5 4 5 2 Skinner's C A 4 4 4 4 4 B 4 4 4 4 4 C 4 4 4 4 4 3 Chs. Grahm A 4 4 4 4 4 B 3 4 4 3 4 C 4 5 5 4 4 4 Clach na C A 4 4 4 4 4 B 4 4 4 4 4 C 4 2 2 4 3 5 Pipe Slang A 4 4 3 4 4 4 B 4 4 5 5 4 4 C 5 5 5 5 4 5 6 Alasdair A 5 4 4 4 5 B 3 4 4 4 4 C 4 4 5 4 4 7 Hallow E'en A 5 4 4 4 5 B 4 4 3 4 4 C 4 5 5 5 5 8 Cpt. Campb A 5 4 4 3 4 B 4 4 4 4 4 C 4 2 4 3 3 9 Fisher's R A 4 3 3 3 3 B 3 3 4 3 3 C 4 2 4 5 4 10 Kirrie Keb A 4 4 4 4 4 B 4 4 4 4 4 C 4 2 4 3 3

aThe tune names are listed in abbreviated form. The full names of the tunes can be found on page 61.

Table 7. Scottish Fiddling Experts’ Assessment of Manual Tunes for subject ST1, Raw

Data

80

Sa Statement M Mdn SD 1 The subject’s left-hand ornaments are fully consistent 3.88 4 .728 with the authentic Scottish style of ornamentation. 2 The subject’s execution of right-hand ornaments 4.03 4 .669 (birls) is fully consistent with the authentic Scottish style. (Birls are written into the music and are not subject to interpretation.) 3 The subject’s tempo is fully consistent with the 3.84 4 .772 Scottish style of this tune type. 4 The rhythms that the subject chose to execute (as 3.94 4 .746 opposed to the written rhythms) are fully consistent with the Scottish style of this tune type. 5 The subject’s choice of bowings is fully consistent 3.83 4 .749 with the Scottish style of this tune type. 6 Overall, I believe that this subject is performing in an 3.92 4 .728 authentically Scottish style. aS = statement bSubject n = 10

Table 8. Scottish Fiddling Experts’ Assessments of Manual Tunes b

A median of 4 indicates that the Scottish fiddling experts agreed with the statement for each subject’s performance of all of the manual tunes. Question 6 is particularly important. It suggests that the experts agreed that the overall performances of the subjects were in an authentically Scottish style.

Inter-Judge Reliability – Pretest

An intra-class correlation was used to determine inter-judge reliability with respect to the Scottish fiddling experts’ ratings of the pretests of the subjects’

81 performances of the music from outside of the manual. The following table reports the inter-judge reliability as intra-class coefficients for each of the evaluation statements.

Sa1 S2 S3 S4 S5 S6 ICC 0.003 0.429 0.326 0.182 -0.019 -0.015 aS = statement bSubject n = 10

Table 9. Inter-Judge Reliability on Pretest Tunes b

Performance of Music from Outside the Manual – Pretest

During the pretests, the subjects were asked to perform a selection of 14 tunes from sources outside of the manual. The evaluations of the subjects’ performances were a potential indication of how much authentic Scottish style was present in their playing at the beginning of the study because the tunes were presented in an unedited form, i.e., without any articulations, bowing indications, or ornaments.

The Scottish fiddling experts again evaluated each subject’s performance on a six- statement Likert-scale questionnaire. On the form, 1 was “strongly disagree” and 5 was

“strongly agree” (Figure 7). The following table (Table 10) reports the means and medians of the Scottish fiddling experts’ overall assessment of all of the subjects’ performances across all of the music from outside of the manual performed during the pretests.

82 Strongly Disagree Disagree Don’t Know Agree Strongly Agree

1 2 3 4 5

Figure 7. Scale used to evaluate subjects’ performances of tunes not included in the manual.

Pretest Results Sa Statement M Mdn SD 1 The subject’s left-hand ornaments are fully 1.40 1 0.763 consistent with the authentic Scottish style of ornamentation. 2 The subject’s execution of right-hand ornaments 1.68 1.5 0.739 (birls) is fully consistent with the authentic Scottish style. (Birls are written into the music and are not subject to interpretation.) 3 The subject’s tempo is fully consistent with the 1.62 1 0.749 Scottish style of this tune type. 4 The rhythms that the subject chose to execute (as 1.52 1 0.767 opposed to the written rhythms) are fully consistent with the Scottish style of this tune type. 5 The subject’s choice of bowings is fully 1.42 1 0.781 consistent with the Scottish style of this tune type. 6 Overall, I believe that this subject is performing 1.36 1 0.756 in an authentically Scottish style. aS = statement bSubject n = 10

Table 10. Scottish Fiddling Experts’ Assessments of Music from Outside of the Manual:

Pretest b

A median of 1 indicates that the Scottish fiddling experts disagreed with that statement regarding the subjects’ performance of across all of the tunes from outside of the manual.

Therefore, the results suggest a lack of Scottish style in the subjects’ performances since all of the questions received a median rating of 1, except for statement 2. However, the results for statement 2 also suggest a lack of Scottish style in the subjects’ performances 83 because statement 2 received a median rating of 1.5. In summary, these results suggest a lack of Scottish style in the subjects’ performances during the pretests.

Inter-Judge Reliability – Posttest

An intra-class correlation was used to determine inter-judge reliability with respect to the Scottish fiddling experts’ ratings of the posttests of the subjects’ performances of the music from outside of the manual. The following table reports the inter-judge reliability as intra-class coefficients for each of the evaluation statements.

Sa1 S2 S3 S4 S5 S6 ICC 0.670 0.586 0.542 0.671 0.617 0.689 aS = statement bSubject n = 10

Table 11. Inter-Judge Reliability on Posttest Tunes b

Performance of Music from Outside of the Manual – Posttest

The subjects were asked to perform the same selection of fourteen tunes from the pretests again for the posttests. The tunes appeared unaltered from their original pretest forms. Therefore, the evaluations of the subjects’ performances of the same material are a potential indication of how much Scottish style was evident in their playing following the completion of their study of the manual.

84

Posttest Results Sa Statement M Mdn SD 1 The subject’s left-hand ornaments are fully 3.70 4 0.667 consistent with the authentic Scottish style of ornamentation. 2 The subject’s execution of right-hand 3.72 4 0.770 ornaments (birls) is fully consistent with the authentic Scottish style. (Birls are written into the music and are not subject to interpretation.) 3 The subject’s tempo is fully consistent with the 3.92 4 0.839 Scottish style of this tune type. 4 The rhythms that the subject chose to execute 3.90 4 0.756 (as opposed to the written rhythms) are fully consistent with the Scottish style of this tune type. 5 The subject’s choice of bowings is fully 3.77 4 0.674 consistent with the Scottish style of this tune type. 6 Overall, I believe that this subject is 3.88 4 0.592 performing in an authentically Scottish style. aS = statement bSubject n = 10

Table 12. Scottish Fiddling Experts’ Assessments of Music from Outside of the Manual:

Posttest b

A median of 4 indicates that the Scottish fiddling experts agreed with the statement for each subject’s performances of all of the manual tunes. Therefore, these results suggest that the experts observed Scottish style in the subjects’ performances during the posttest as all of the questions received a median of 4. Additionally, the median of question 6 suggests that the Scottish fiddling experts agreed that overall, the performances of the subjects were authentically Scottish.

85 Comparison of Results Between Pretests and Posttests

The pretest and the posttest data were compared to determine if there was a significant change in the Scottish fiddling experts’ assessments of the subjects’ performances between the pretest and the posttest. Three Scottish fiddling experts were needed to interpret the subjects’ ability to follow the rules during their performances.

This is because Scottish fiddling is based on rules that can occasionally be subject to multiple interpretations. Therefore, a mixed-model ANOVA was used. The pretest and posttest were the fixed effects, and the subjects and the experts were set as the random effects.

Table 13 summarizes the results of the analysis. These figures are the results for all of the subjects across all of the tunes and all three of the Scottish fiddling experts.

Since p < 0.05 for all of the statements, there is a significant difference between the means of the pretests and the means of the posttests. Therefore, this suggests that the manual and DVD were effective in instructing the subjects how to play Scottish fiddling in an authentic manner.

86

Pretest Posttest Results Results Sa Statement M Mdn M Mdn F p 1 The subject’s left-hand 1.40 1 3.70 4 2552.582 0.000 ornaments are fully consistent with the authentic Scottish style of ornamentation. 2 The subject’s execution of 1.68 1.5 3.72 4 238.984 0.000 right-hand ornaments (birls) is fully consistent with the authentic Scottish style. (Birls are written into the music and are not subject to interpretation.) 3 The subject’s tempo is fully 1.62 1 3.92 4 1983.385 0.000 consistent with the Scottish style of this tune type. 4 The rhythms that the subject 1.52 1 3.90 4 2402.822 0.000 chose to execute (as opposed to the written rhythms) are fully consistent with the Scottish style of this tune type. 5 The subject’s choice of bowings 1.42 1 3.77 4 2516.467 0.000 is fully consistent with the Scottish style of this tune type. 6 Overall, I believe that this 1.36 1 3.88 4 3517.408 0.000 subject is performing in an authentically Scottish style. aS = statement bSubject n = 10

Table 13. Scottish Fiddling Experts’ Assessments of Music from Outside of the Manual: All b

Subjects’ Practice Logs

The mean amount of time that the subjects practiced was 4 hours and 52 minutes, with a median of 5 hours and 20 minutes and a range of 6 hours and 40 minutes. The logs in which the subjects tracked their practice times were analyzed with a Pearson 87 correlation. This test was used to detect if the number of minutes of practice time were correlated with the subjects’ performances on the posttests as assessed by the Scottish fiddling experts using each statement on the Video Assessment Form. The following values were found.

Sa1 S2 S3 S4 S5 S6 M 3.8756 4.0333 3.8348 3.9333 3.8215 3.9093 r -0.061 0.386 0.080 -0.074 -0.012 -0.046 p 0.875 0.305 0.839 0.849 0.976 0.907 aS = statement bSubject n = 10

Table 14. Correlations Between the Number of Minutes Spent Practicing the Manual and the Mean Posttest Ratings of the Scottish Fiddling Experts’ Evaluations of the Subjects b

The results suggest that there is no correlation between the amount of time the subjects spent practicing the manual and the Scottish fiddling experts’ evaluations of the subjects’ performances since p > 0.05 for each statement. The implications of these results will be discussed in Chapter 5.

88 CHAPTER 5

SUMMARY AND DISCUSSION

This chapter is organized in the following order: (1) a summary of the study, (2) a discussion of the results, (3) a discussion of confounding issues potentially present in the study, (4) a discussion of suggested changes to the study, (5) a discussion of the implications of the study, and (6) suggestions for future research.

Summary

The purpose of this study was to investigate whether the nuances of traditional

Scottish fiddling can be learned through the use of an instructional manual with DVD. In this study, a manual and an accompanying DVD were created for classically-trained violin teachers. These instructional materials were designed to teach them how to play

Scottish fiddle music authentically.

The manual was designed to teach the essential stylistic traits of the common

Scottish fiddling tune types: airs, marches, jigs, reels, and strathspeys. Initially, hornpipes were going to be included due to their potential use for teaching heavy rhythmic swing. However, violin teachers do not require such an introduction since they have already had advanced rhythmic training. Additionally, hornpipes are not commonly

89 played tunes. Furthermore, there are several different types of hornpipes that require advanced techniques. Such advanced techniques were not deemed appropriate for beginning instruction.

A DVD was designed as a companion and supplement to the manual. It contained seventy-eight examples of techniques, exercises, and tunes from the manual. All seventy-eight video clips were numbered and arranged according to their location in the manual. The manual had corresponding DVD chapter numbers marked by each notated example.

Once created, the instructional materials were evaluated by five violin pedagogues and three Scottish fiddling experts. The violin pedagogues evaluated the manual on pedagogical sequencing, technical descriptions, and the quality of musical examples. The Scottish fiddling experts evaluated the instructional materials on the choice of tunes, technical descriptions, quality of the performances on the DVD, and overall potential effectiveness. Ten violin teachers who had interest in participating in the study were identified. At the first meeting, the potential subjects were given a consent form and the Participant Application Form and Questionnaire to determine eligibility. They were pretested once they were deemed eligible to participate in the study. The pretests were used to document their performance of Scottish fiddling tunes before they were given the instructional materials. For the pretest, the subjects were presented with fourteen Scottish fiddle tunes from sources outside of the manual which they preformed before a digital video recorder. They were then given a copy of the manual and DVD to study for a month. They were also given a log in which they documented their practice time and study of the instructional materials. At the

90 conclusion of the month, the subjects were posttested to determine the potential effect of the instructional materials. The subjects were video-recorded performing ten tunes from the manual as well as the fourteen tunes from sources outside of the manual again.

Finally, the subjects completed a Completion of Participation Questionnaire.

The videos of the subjects’ performances were then presented to Scottish fiddling experts, who assessed the Scottish authenticity of each subject’s playing.

Discussion of the Results

The purpose of this investigation was 1) to assess the ways in which the subjects viewed aspects of Scottish fiddling before and after the study, 2) to create instructional materials that had the potential to teach authentic Scottish fiddling, and 3) to assess the ability of the instructional materials to teach authentic Scottish fiddling. The interpretations of the results of these sections are discussed in the next three sections.

Subjects’ Views of Aspects of Scottish Fiddling Before and After the Study

Comparison of the Questionnaires

The Completion of Participation Questionnaires revealed that subjects generally maintained their positive beliefs about teaching and playing fiddling when compared to the Participant Application Form and Questionnaires. However, two of the views of the subjects changed. First, the subjects generally became more confident in their ability to demonstrate or interpret elements of Scottish fiddling after using the instructional materials. Therefore, the instructional materials appeared to improve subjects’ beliefs that they can demonstrate or interpret elements of Scottish fiddling. Second, the subjects’ beliefs that Scottish fiddling is valuable to study even for a violinist who does not have

Scottish heritage became generally stronger. Therefore, the instructional materials

91 appeared to strengthen subjects’ beliefs that Scottish fiddling is valuable to study even for a violinist who does not have Scottish heritage.

The Completion of Participation Questionnaire

After using the instructional materials, the subjects generally felt confident in their abilities to perform authentic Scottish fiddling. According to the medians of their ratings on the Completion of Participation Questionnaire, they believed that they (1) could successfully add Scottish idiomatic bowings into reels, (2) felt confident that they could interpret most unedited Scottish fiddle tunes correctly, (3) could successfully add

Scottish idiomatic ornaments into airs, (4) could accurately demonstrate a birl, and (5) could accurately demonstrate a tap ornament. According to the medians of their ratings on the questionnaire, they strongly believed that (1) their classically trained violin background was an asset to their learning how to play in the Scottish style, and (2) they would like to continue to play Scottish fiddling music after the completion of the study.

Overall, the instructional materials positively influenced the subjects’ beliefs about their abilities to perform authentic Scottish fiddling and their desires to continue to perform

Scottish fiddling in the future.

However, the subjects did not feel confident in their understanding of the differences between the Highland strathspey and the North-East style strathspey. The subjects’ median score was a zero when they were asked to rate their understanding of the differences between these strathspeys. A zero was a neutral rating which indicated that the subjects “didn’t know.” This could potentially indicate some remaining confusion about the differences between the two styles of strathspeys. This knowledge was more theoretical than practical. Therefore, this confusion could have been due to the

92 fact that the subjects might not have focused on theoretical knowledge extensively.

Rather, they might have focused more on practical exercises since these exercises were necessary for them to develop their performance skills.

In addition, subjects did not feel very confident about their abilities to add

Scottish idiomatic bowings into strathspeys. Their median rating was a 0.5 (halfway between “don’t know” and “agree”) when they were asked if they felt that they could add idiomatic bowings into strathspeys. This lack of confidence could have been due to the fact that they did not believe that they fully understood the differences between Highland strathspeys and North-East strathspeys. Furthermore, the different styles require different bowings. Since the subjects indicated that they did not believe that they fully understood the differences between the styles of strathspeys, it stands to reason that they did not feel very confident about their abilities to add idiomatic bowings into these strathspeys.

The subjects might also not have felt confident about adding idiomatic bowings into strathspeys because some of the guidelines for adding bowings are ambiguous. For example, the Scottish Snap can be slurred, unslurred, or used as a component of the up- driven bow. All of these approaches are authentic. Given this range of choices, it is not surprising that the subjects did not feel entirely confident of their abilities to add idiomatic bowings into strathspeys.

The Creation of the Instructional Materials

Prior to testing, the manual and DVD were evaluated to determine if they held theoretical potential for teaching authentic Scottish fiddling. Both instruments were passed before a panel of five violin pedagogues and three Scottish fiddling experts. The

93 pedagogues and experts shared their suggestions for the improvement of the manual and

DVD through open-ended suggestion forms. They evaluated the pedagogical potential by responding to three-question Likert-scale questionnaires. The median of the pedagogues’ and Scottish fiddling experts’ first evaluation of the manual suggested a strong agreement that it showed pedagogical promise for teaching authentic Scottish fiddling.

Nevertheless, there were suggestions for improvements to the manual. These suggestions were incorporated into the manual. The DVD was then created following the Scottish fiddling experts’ agreement that the tunes used in the manual were a good representation of the traditional Scottish fiddling repertoire.

The medians from the second review of the manual and DVD also suggested a strong agreement that both instruments showed pedagogical promise. This time, however, the individual ratings were higher, and there were no more suggestions for improvements to the manual or DVD. Therefore, the manual and DVD showed strong promise for teaching authentic Scottish fiddling.

The Ability of the Instructional Materials to Teach Authentic Scottish Fiddling

The Scottish fiddling experts analyzed the subjects’ video-recorded pretest and posttest performances in order to evaluate the effectiveness of the instructional materials.

The pretest performances were of tunes from sources outside of the manual (Appendix

E). The posttest performances were of the same outside tunes, as well as a selection of ten tunes from the manual. The experts used a six-question, Likert-scale form, the Video

Evaluation Form (Appendix I), to assess the subjects’ ability to perform Scottish fiddling authentically by evaluating their physical and interpretive use of Scottish techniques.

The same form was used to evaluate both the pretest and posttest performances.

94 The medians of the Scottish fiddling experts’ numerical assessments of the subjects’ performances were identified. According to the medians, the Scottish fiddling experts believed that the subjects’ performances on the pretest were not consistent with authentic Scottish fiddling.

The medians of each posttest question for the outside tunes suggested a general agreement with the statements on the Video Evaluation Form. For the manual tunes, the

Scottish fiddle experts’ ratings also suggested a general agreement with the statements on the form.

When the means of the pretest questions were compared to the means of the posttest questions using a mixed-model ANOVA, the resulting p-values suggested that there was a significant difference between the means of the pretests and the means of the posttests. Overall, this suggests that the Scottish fiddling experts believed that the subjects’ performances of the tunes from the posttest were significantly more authentically Scottish. Furthermore, this suggests that the instructional materials were effective in instructing the subjects how to perform Scottish fiddling in an authentic manner.

Inter-Judge Reliability

It was necessary to determine the inter-judge reliability of the Scottish fiddling experts in order to verify the credibility of their judgments. This section examines the

Inter-judge reliability with respect to (1) the evaluation of tunes from outside of the manual, and (2) the evaluation of the tunes from the manual.

95 Evaluation of Tunes from Outside of the Manual

The Scottish fiddle experts rated all of the statements on the Video Evaluation

Form reliably except for two. Generally, the inter-rater reliability between the experts’ ratings for the pretest evaluations was found to be quite low for all of the evaluation statements. These ratings suggested significant differences between the ratings of the judges. It is possible, in this case, for the experts to disagree on the extent to which a subject did not demonstrate authentic Scottish techniques. One potential reason for this is that there are some techniques, such as intonation, that are not unique to Scottish fiddling.

Drawing the line between what is a uniquely Scottish technique and what is a valuable technique that Scottish fiddling has in common with classical music might have proven to be difficult for the judges.

Generally, the inter-rater reliability between the experts’ ratings for the posttest evaluations was found to be reliable. This suggests that when defining the presence of

Scottish techniques, as opposed to the absence of Scottish techniques, the experts were more inclined to agree with each other in determining the degree to which the subject sounded authentically Scottish. This is important since it implies that the experts agreed that the subjects’ performances sounded authentically Scottish during the posttests.

Evaluation of Tunes from the Manual

The intra-class coefficient (ICC) between the Scottish fiddle experts’ ratings of the pretest performances from the manual was found to be 0.697. This coefficient suggests that there was strong agreement between the experts’ ratings. Therefore, it appears that the judges’ ratings on the tunes from the manual were reliable.

96 Logs

The logs in which the subjects notated their practice times were analyzed to determine if the amount of time the subjects practiced had any significant relationship on how their performances were rated. No significant relationship was found, which suggests that the subjects’ success with the instructional materials was due to factors other than how long they practiced. For instance, each subject brought a different set of learning styles and skills to this study. Any one of those styles of skills could influence a subject’s success with the instructional materials.

Confounding Issues

The results suggest that the manual appears to teach violin teachers to understand and perform Scottish fiddling authentically. However, there are several potential confounding issues that may have influenced the results. The confounding issue that may have overstated the results is discussed first. The confounding issues that may have understated the results are discussed second.

Overstatement of the Results

The results may have been overstated slightly due to the order in which the video clips were assessed. The posttest video clips were presented immediately following the pretest video clips. It is possible that the Scottish fiddling experts were biased to observe improvement in the subjects’ performances when assessing the posttest clips immediately following the pretest clips. One potential way to mitigate this problem might have been to randomize the presentation of the pretest clips and posttest clips. However, it is unlikely that this randomization would have mitigated the potential bias because there was no way to disguise when the subjects were performing a posttest. The pretests

97 consisted of tunes without notated ornamentation, bowings, or implied Scottish rhythms.

The subjects were directed to sight-read what they saw on the page. Therefore, the resulting performances did not include ornamentation, bowings, or rhythm changes since improvising these aspects in a piece of music is not conventionally done within the classical music tradition. The manual taught the subjects to include various ornamentations, bowings, and swung rhythms in their playing of Scottish tunes.

Therefore, these elements would only have appeared in a posttest since they would not have been present at all initially. It is likely that the subjects would have added some of these elements into a tune even if they had looked at the manual only superficially. The subjects might not even have executed these elements in an authentically Scottish manner, but the presence of any of these elements would have alerted a judge that he was viewing a posttest. Therefore, randomization would not have disguised a posttest clip’s identity. Consequently, randomization would not have been able to prevent the Scottish fiddling experts from being biased toward improvement between the pretest and posttest.

Furthermore, the Scottish fiddle experts might have been particularly careful about their assessments of the posttest clips. The experts are Scottish Fiddling Revival

(Scottish F.I.R.E.) sanctioned judges. As such, they may perceive themselves to be guardians of an ancient musical tradition. As guardians, they might have been motivated to assess the subjects’ performances with a high degree of rigor. Therefore, it is difficult to say with certainty that these judges were influenced at all by an expectation for improvement, rather than by genuine improvement itself.

98 Understatement of the Results

The results may have been understated due to the subjects’ (1) improper use of instructional materials, (2) time management issues, and (3) technical ability.

The Improper Use of the Instructional Materials

The entire study was conducted under the assumption that the manual and DVD have been used in the manner in which they were intended to be used. Directions for how to use the document and the DVD were included within the introductory material, yet ten adults were given the freedom to work through the manual and DVD over the course of a month without any supervision. This format was used because it imitates a realistic environment in which a violin teacher buys an instructional music book and works through it at his or her own pace without supervision or outside instruction.

Asking the participants to work through the instructional materials within the constraints of a month was necessary, however, due to their taking part in a study.

Although it was not widespread, any subject’s apparent lack of skill mastery calls into question the level of comprehension of the written descriptors. This apparent lack of skill mastery might also have been due to other factors, such as time management issues and technical ability, which are discussed later. The Scottish fiddle experts occasionally noted that some subjects did not perform the birls, the jig swing rhythm, or the reel swing rhythm in an appropriately Scottish manner. These techniques are either played correctly or incorrectly. The fact that these techniques were occasionally played incorrectly suggests that the subjects may not have fully comprehended how to perform these techniques. A lack of comprehension could have been due the subjects’ simply scanning the material. Scanning could potentially explain how a subject might have missed critical

99 information about the rhythmic interpretation of birls, the jig swing, or the reel swing. It also could have prevented the reader from taking the necessary time to complete all of the improvisatory exercises.

The purpose of the improvisatory exercises was to teach the subjects how to insert traditional ornamentation and bowing patterns into Scottish fiddle tunes in an authentic manner. The extent to which the subjects used the improvisatory exercises might have influenced their performance on the posttest. The subjects were expected to put themselves into a student-like role when using the manual. However, since the improvisatory exercises needed to be completed, much like written homework, it is possible that the subjects occasionally skipped them. It is also possible that the subjects only scanned some of the exercises before looking at the “answers” in the back of the manual. There was no way to ensure that the subjects used the improvisatory exercises as they were intended.

The DVD was intended to be used in conjunction with the manual. Like the manual itself, the entire study was conducted under the assumption that the DVD was used in the manner in which it was intended to be used. Directions for how to use the

DVD were included within the manual’s introductory material. It is unclear whether the subjects used the DVD properly since there was no way to observe this directly.

However, one subject admitted to losing the DVD, so the DVD could not influence this particular subject’s performance.

Time Management Issues

During this study, a specific amount of practice time was not mandated, nor was there a manner in which any practice time could be enforced. It was expected that each

100 subject would determine the amount of time that he or she needed in order to master the material. Such an expectation allowed the subjects the flexibility to proceed through the manual at their own learning rate. However, it was interesting to note that the average time allotted to the manual over the course of a month was 4 hours and 52 minutes according to the logs that the subjects were required to keep. Despite this relatively short amount of time, the Scottish fiddling experts rated the subjects’ performances in the posttests as being significantly more Scottish sounding.

Nevertheless, physical bowing techniques appeared to require more practice time.

The jig swing rhythm and reel swing rhythm require muscle training in the bow arm, since the specific manner in which these nuances are performed determines the style in which they are perceived. A jig swing rhythm that is swung too much becomes a 6/8 march rhythm and not a jig rhythm. Conversely, if a jig rhythm is played too evenly, the

Scottish style is lost entirely. Too much swing in a reel can make the tune sound more like a and less like a reel. Ultimately, a very specific amount of swing is required in both jigs and reels. Mastery of this requires repeated physical training of the right arm. Therefore, more practice time might have been needed for some subjects to have mastered such specific arm motions.

The Scottish fiddle experts agreed that the subjects performed the fast tunes (jigs, reels, and some strathspeys) in an appropriate Scottish manner. However, the experts did not agree on this strongly. If the subjects had practiced the fast tunes for a longer period of time, they might have received higher ratings from the experts. In addition, the subjects might have underestimated the technical demands of the tunes with more basic

101 rhythms, such as jigs and reels. Therefore, they might have performed these tunes more slowly than was appropriate, thus resulting in a slightly lower rating from the experts.

Some ornamentation might also have required more time to be more thoroughly internalized. The Scottish fiddle experts agreed that the subjects included authentic

Scottish left-hand ornamentation, but they did not agree on this strongly. This suggests that more practice time would have been useful for the subjects to master authentic

Scottish ornaments thoroughly.

Confounding Issues that Influenced Allotted Time

The study was intended to run exactly for one month. Scheduling was occasionally problematic since all of the subjects in the study were working adults. Not every posttest was able to be scheduled exactly one month following the pretest. For instance, some subjects communicated immediately prior to their posttests that they needed to reschedule the meeting for a later time due to conflicts with their job or due to an illness. In addition, one subject damaged her right shoulder during her allotted time and requested an extension to allow herself to heal and to finish the study. Such rescheduling of posttests resulted in a lengthening of the study’s allotted time by as much as two weeks for three subjects. Nevertheless, the practice time values of the extended studies fell within the same numeric range as those of the standard studies. They were simply spread over a longer time. Therefore, it is unlikely that these differences in the length of the study impacted the results.

The practice times listed in the logs might have been enough time to learn the material fully for some and not enough time for others. However, practice time was not mandated or enforced in this study. Correlations were be drawn between the times that

102 the subjects logged and the results of their posttest performances. There was no significant correlation between the number of minutes practiced and the Scottish fiddling experts’ evaluations of the subjects’ playing (Table 14, p. 88). This suggests that subjects who practiced for a longer amount of time did not necessarily perform better than subjects with who practiced for a shorter amount of time. This implies that the subjects with less time logged could simply be faster learners. It also implies that individual technique may be a strong predictor of success in learning from the manual.

In addition, the subjects were asked to record in the logs how long and in what way they used the DVD. However, the frequency or intensity with which the subjects actually used the DVD is not completely known. Therefore, it is impossible to conclude how much influence the DVD actually had on the subjects’ aural and visual learning apart from the manual.

Technical Ability

Technical ability might have been a confounding issue despite the subjects’ credentials as violin teachers in some capacity. Before discussing this in detail, it should be noted that only skills that are uniquely Scottish were evaluated during this study.

Correct intonation, though valued in Scottish fiddling, is not a technique unique to the genre. Therefore, universally valued violin skills, such as intonation, were not evaluated for this study.

A subject’s overall technical ability might have influenced the execution of a number of Scottish devices such as ornaments and rhythms. The ornaments in the transcriptions can be technically demanding and can require the subjects to have highly developed left-hand finger dexterity and speed as well as a solid sense of rhythmic

103 placement. The subjects’ selection of ornaments might have been influenced by their technical ability to execute them since the subjects were responsible for adding their own ornaments in the posttest tunes. A subject with good technical ability might have chosen more complex ornaments more frequently than a subject without good technical ability.

However, playing in an authentic manner was still accessible to all of the subjects in the study despite technical ability, since the presence of any Scottish ornament increases a tune’s Scottish authenticity.

In addition, the subjects were required to have a strong rhythmic ability since the literal rhythmic transcriptions in the manual are rather complex. The execution of the transcribed rhythms might have suffered due to lack of technical ability. This issue could also have weakened the subjects’ interpretations of the rhythmic devices in the music from outside of the manual.

Suggested Changes

At the conclusion of this study, the Scottish fiddle experts agreed that the subjects performed in a significantly more authentic Scottish manner after studying the instructional materials. However, the results also suggest some areas in which improvements can be made to both the instructional materials and the study. These changes might improve the overall success of the instructional materials as learning devices and may serve as a basis for future studies.

Subject Pool

Ninety-one violin teachers were contacted. These teachers included public school teachers, private studio teachers, and Suzuki teachers. However, only ten violin teachers, five public school teachers and five private lesson teachers, agreed to participate in the

104 study. Having a subject pool of ten might have affected the results. The subjects who volunteered were interested in the study. Because of this, they might have worked more diligently to attain better results. Therefore, the results could be overstated. Although this overstatement is possible, it is unlikely because the subjects devoted an average of 4 hours and 52 minutes to the instructional materials over the span of a month. However, each subject’s performance could have had a stronger effect on the results due to the small size of the subject pool. This could result in either an overstatement or understatement of the results. The subject pool was a realistic snapshot of teachers who were interested in learning Scottish fiddling. Nevertheless, one change to this study would be to replicate it with a larger subject pool.

Improvements to the Instructional Materials

The jig and reel swing rhythms were not always successfully played in an authentic Scottish manner. Therefore, more attention to these rhythms must be included in a revised version of the manual. Specifically, exercises that would allow more physical practice of the rhythms could be added. Rhythmic exercises which are clear comparisons between Scottish jigs, 6/8 marches, and Irish jigs could illustrate the differences between the rhythms more effectively. Tunes notated in the rhythmically accurate swing rhythm might emphasize the difference between light Scottish reel swing and heavier swing more effectively. Also, an aural example on the DVD should accompany each new exercise.

The section in the manual about phrasing in airs could be expanded. Airs should not only be used for learning ornaments. The manual in its current form can possibly give this perception. Written exercises could be included to require the reader to analyze

105 phrasing in airs. Airs could be presented without measure lines and/or time signatures, and the reader could be required to discover and mark where the phrases are. More DVD examples of all the written exercises would offer aural examples of different approaches to phrasing in the same airs.

More transcriptions of all of the different tune types could be included. Each section could be enlarged to show more examples of tunes being played in the traditional

Scottish style. Then, transcribing exercises could be included to develop the user’s ear and understanding of the transcriptions further. A user of the manual could then listen to an audio example from the DVD and write down his or her own transcription of the tune.

The answer would be found in the answer section of the manual to enable the user to check his or her work.

Changes to the Testing Procedure

Some changes to the testing procedure could be made in order to control for some of the confounding issues present in the current study. Two different scenarios could be considered: (1) the subjects could possess the instructional materials for a longer period of time, and (2) the study could be conducted in a setting in which practice time and protocol were controlled.

First, the subjects could have the manual for a longer allotted period of time in order to provide more time for them to learn the techniques and to nurture their improvisational skill. This could happen in two different ways: the subject could simply be given a longer allotted span of time during which to study the manual, or the subject could be given one portion of the manual at a time and be pretested and posttested on each section. The former option would give the reader more allotted time to study the

106 manual, but it still would not guarantee an effective use of the allotted time. The latter option would make scheduling more cumbersome and perhaps adversely affect the retention rate of the subjects by placing greater demands on the subjects’ schedules.

The second scenario would be for the study to be held in a controlled practice situation. Such an environment would allow the subject a specific amount of time to be alone with the manual and DVD in a distraction-free setting. This would unify the amount of time that the subjects would be able to practice and study the manual, but it is not a very realistic situation. Such a controlled learning environment might not be realistically replicated outside of the study. Hence, the study might not have external validity.

Implications of the Study

There are several direct implications of this study: (1) data suggest that the instructional materials may be used to help violin teachers learn to play authentically

Scottish fiddle music; (2) learning Scottish fiddling may not be dependant on immediate, personal access to a Scottish fiddling expert; (3) teachers who learn the authentic Scottish fiddling techniques from the instructional materials will likely be prepared to interpret

Scottish fiddling music that does not come from the manual; and (4) other traditional fiddle styles such as Irish and Swedish might also be pedagogically codified.

The Use of the Instructional Materials

The Scottish fiddling experts’ ratings of the subjects’ performances of tunes from inside and outside of the instructional materials suggested that there was a significant difference between the pretest performances and the posttest performances. According to the judges, the posttest performances were significantly more Scottish sounding than the

107 pretest performances. Therefore, the instructional materials appear to be successful in teaching the subjects how to play authentic Scottish fiddling.

The Need for a Scottish Fiddling Expert

Scottish fiddling is frequently passed on by aural tradition. Notated music has had a prominent presence in Scottish history, but notated instructions and pedagogical materials have not. This study implies that one can learn the fundamentals of authentic

Scottish fiddling by using these instructional materials. However, the Scottish fiddling experts only agreed that the results of the subjects’ posttests were consistent with authentic Scottish fiddling. They did not strongly agree that this was true. Therefore, the results may imply that a Scottish fiddling expert may remain necessary to teach students who wish to perform Scottish fiddling at levels beyond the fundamentals.

Interpreting Scottish Fiddling Music beyond the Instructional Materials

Subjects in this study were required to apply their skills to tunes from outside of the instructional materials on the posttests. The Scottish Fiddling experts agreed that the subjects’ performances on the posttests were significantly more Scottish than their performances on the pretests. Therefore, the subjects were able to transfer the skills they learned from the instructional materials to tunes on which they had never received instruction. This implies that subjects would be able to transfer their skills to other

Scottish fiddle music that was not included in the instructional materials.

Other Fiddling Styles Might Be Pedagogically Codified

The results of this study suggest that the instructional materials for learning

Scottish fiddling are able to teach subjects the fundamentals of authentic Scottish fiddling. This implies that other similar fiddling styles based on aural tradition, such as

108 Irish or Swedish, might also be pedagogically codified for instruction. Such instructional materials for different styles would enable violinists and violin teachers to be more confident that they were learning how to perform the fundamentals of these styles in an authentic manner.

Further Research

Additional ways in which violinists could learn to play authentic Scottish fiddling could be explored in several additional studies. One potential study would be to investigate if hornpipes could be used as instructional tools for intermediate violinists to learn reel swing. Hornpipes were omitted from the current study because their rhythms were not stylistically unique. However, it would be useful to determine if using hornpipes as rhythmic training exercises for the reel swing rhythm would uncover any pedagogical links in rhythmic training.

Second, a follow-up study to investigate the direct influence of the DVD on subjects’ performances might be useful since the DVD was not able to be independently evaluated during the present study. The influence of the use of the DVD only for instruction would be especially enlightening when evaluating correlations between the subjects’ use of the DVD and their execution of bowed rhythmic techniques. The results of this study might determine whether the use of the DVD was essential for subjects to be able to play authentic Scottish rhythms in jigs and reels.

Third, it is reasonable to assume that violin teachers are not the only string teachers who are interested in learning how to play traditional Scottish music. Therefore, another facet for further research would be for these instructional materials to be transformed into instructional materials for teachers of the other string instruments. A

109 manual for cellists would be of particular interest since the has strong historic ties to

Scottish fiddling.

Fourth, another area of further research would be to reproduce this study for a different style of violin playing, such as Irish or Swedish fiddling. This could be beneficial to violin teachers who were interested in learning and teaching in that style.

Also, it would make pedagogical and ethnomusicological comparisons between Scottish fiddling and the other genres more feasible.

Fifth, a logical progression from this study would be to determine if teachers who learn to play authentic Scottish fiddling from the instructional materials would be able to teach authentic Scottish fiddling techniques to their students.

Finally, the instructional materials could be rewritten for violin students, instead of violin teachers. The new materials’ effectiveness could be determined. These student materials could be used in conjunction with the current materials for teachers.

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118

Appendix A:

A Manual for Learning How to Play the Violin in the Traditional Fiddling Style of

Scotland

119

A Manual

for learning how to play the violin in the traditional fiddling style of Scotland

by

Melinda H. Crawford Perttu

120 TABLE OF CONTENTS

Page Part I Introduction and A (Very) Brief History of Scottish Fiddling 2 Part II Historical Timeline 3 Part III Before Getting Started 4 Part IV The Air and Ornaments 5 Left-Hand Ornaments 6 Hammer-ons 6 The Crunch 7 The Pull-off 8 The Tap 9 Combination Ornaments 10 Phrasing 14 Part V Marches 16 Additional Ornaments: Unison and Turn 17 Part VI Dance Music 20 The Jig 20 The Reel 22 Bowings 23 The Birl 29 The Strathspey 31 West Highland 31 North-East 33 16 th -note Runs 34 Triplets 35 The Up-Driven Bow 37 Part VII Answer Section 39 Part VIII Full Tunes from Excerpts that are not Included in the Text 48 Part IX Appendix A - Additional Listening 50 Appendix B - Suggested Music Resources 51 Appendix C - Map of Scotland – The Regions & Regional Fiddle Styles 52 Part X Tune Index 53 Topical Index 54 121 About This Manual

This manual is designed to assist the reader in learning how to play the violin in the traditional fiddling style of Scotland. Five of the most commonly played tune types (the air, jig, march, reel, and strathspey) will be presented, and playing techniques and traditional interpretations unique to the Scottish style will be discussed and analyzed. While it is not expected that the completion of this manual will make the reader an instant expert in the genre, it is hoped that enough understanding of the traditions and mastery of the basic techniques will allow the reader to refine his/her own Scottish fiddling more easily through study over time. As each newly introduced technique is built on previously learned techniques, the best way to approach this manual is to start at the beginning and to work though it sequentially. Additionally, to promote improvisation in the Scottish style, there are introductory exercises that appear throughout the manual for the reader to complete and compare his/her solutions to the examples in the back of the book. When using the Answer Section, keep in mind that there are many possible correct answers. In such cases, look for commonalities between your answers and the sample options provided. Use the accompanying DVD to supplement your studies. The DVD contains video clips of all of the techniques and musical examples that appear in the manual. When a video segment exists for a particular example, it is marked with the DVD chapter number beside the corresponding piece. If viewing the DVD on a computer, one effective practicing method is to place targeted video clips on repeat. A recent picture of the home of the famous Scottish fiddler, Niel Gow, appears as the DVD’s menu background. To date, there is no standard lexicon for Scottish fiddling; however, to discuss pedagogical topics effectively, generally accepted terms are used in this manual. It is possible that some Scottish fiddlers may not use this particular jargon. Finally, all of the musical examples used in this manual are no longer under copyright, as they are all in the public domain.

A (Very) Brief History of Scottish Fiddling

Fiddle music has been played in Scotland for centuries. The name “fiddle” appears to have originated from the vidula , a stringed instrument brought to the British Isles by the Romans. “Fiddle” was initially applied to unstandardized string instruments that physically resembled the viol and the modern violin to various degrees. As the viol and then the modern violin were introduced to Scotland, the music from the fiddle was transferred to them; the use of the old fiddles died out; and ultimately, the violin became the primary instrument to play the music of the fiddles. Scottish fiddlers were first mentioned in the accounting books of King James IV of Scotland, which includes a receipt of payment for a fiddler in the King’s household in 1490 and the mention of three fiddlers by name. 1 After that, written reference to Scottish fiddlers became more common. For instance, fiddlers were mentioned as being in the court of Mary, Queen of Scots, including David Rizzio, her personal secretary. Overall, Scottish fiddling and its techniques have been, and still are, passed down through two traditions: the aural tradition and the tradition of publishing collections of fiddle melodies or “tunes” that began in the early 18 th century. This has resulted in a large repertoire of music. Even though some Scottish fiddle music had already been published in collections of various headings, the first full collection of Scottish fiddle music was published in 1700 by Henry Playford. 2 After that, collections of Scottish fiddle music became quite common. A benefit of the early publications is that the publication dates frequently help identify the ages and composers of tunes. However, even in the early publications, the ages and composers of some tunes are not able to be identified as they are simply notated as being “Very Old” or “Ancient.” Many prominent Scottish fiddle composers published books of music during their careers. Niel Gow, William Marshall, and Robert Mackintosh were three very well-respected and well-published composers in the 18 th and early 19 th centuries. Fiddlers at that time were expected not only to play the latest Scottish tunes but also were expected to play the latest court dance tunes from the continent. Later, Scottish fiddlers began to perform fiddle music on the concert stage as soloists and as fiddle-based bands to showcase the music as music to listen to and appreciate. One of the most famous and earliest of these was the prolific composer James Scott Skinner. Using a fiddler to play for a dance never did die out, however, and today, Scottish fiddle music is still played for Scottish country dances and is also showcased on the stage.

1 Dauney, W. (1838). Ancient Scotish [sic] Melodies, from A Manuscript of the Reign of King James VI. Edinburgh, UK: Edinburgh Printing Company. 2 Gore, C. (Ed.). (1994). The Scottish Fiddle Music Index . Musselburgh, Scotland, UK: The Amaising Publishing House Ltd.

122

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1950 ver, the 1715 and1745 rebellions the “First” andthe “Second.”

1991

1992 World War II —1939 -1945 - -

TomAnderson 1910 Donald Riddell Donald 1908 Hector MacAndrew Hector 1903-1980

Williams

- World War I—1914-1918 1958 -

1900

Vaughn 1872

1927 -

1904 ák - * Scholars* countseveral Jacobean rebellions. Howe thetwo are largestand are commonlyreferred to as ř J. Scott J. Skinner 1843 1850 Dvo 1841

1847 - Mendelssohn Mendelssohn 1809

1827 1800 -

1807 American War for Independence -

Beethoven 1770 1791 1775-1783 - 1833 - Mozart 1756

William Marshall 1748 1750 of Act Proscription 1747-1782 “Discouraged” of playing the bagpipes the

Niel Gow Niel 1727

BonniePrince Charlie 1720-1788 1759 - 1746

1745

—

— 1750 - 1700 Handel 1685 Handel Bach S. J. 1685

Battle of Culloden of Battle

Jacobite Second* BeginsRebellion First CollectionPublished of ScottishMusic—1700 Fiddle

Massacreof 1692Glencoe — 1650 First*Jacobite Rebellion 1715

1643 - 1600 Monteverdi 1567

Crowns” the of “Union Scotland of VI James IEngland James of becomes 1603 —

Mary, Mary, QueenScots of 1542-1587 1550

1585 -

Tallis 1505 1500

composer eventScottish fiddling or Scottishpoliticalevent Scottishpolitical personality Internationalwar composer Art-music compensationFirstof record for—Scottish fiddling paymentreceipt A toa for ofthe Scotland’sKing fiddlerin household—1490 1450

123 Before Getting Started

Before getting started with this manual, here are two playing techniques that are used differently when playing Scottish fiddling than when playing classical art music:

1. Fingering Choices - In Scottish fiddling, the timbre of open string pitches is frequently used to highlight important rhythmic aspects of a dance tune or to augment the feeling of ancient simplicity in an air. Such use of the open strings also allows the fourth finger to be actively executing a fourth finger tapping ornament (for more on tapping ornaments, please see page 9). In airs, however, the change in timbre from a fingered pitch to an open string is at times too great. In such instances, a fourth finger substitution is encouraged.

2. Vibrato is used as an ornament that is added to achieve a specific effect in Scottish fiddle music. Although it is most commonly found in airs, it is not used constantly in any of the forms of Scottish fiddle music . In airs, the use of vibrato is generally inversely proportional to the number of open strings played (fig.1). That said, depending on the tune, the ringing of open strings can be a highly desired effect, so vibrato should not necessarily be placed at a higher value than the using of open strings. An air played without any vibrato can be very effective in sounding desolate and ancient.

fig. 1

Amount of Vibrato used Amount of Open String Usage

Different types of vibrato can be useful to achieve a desired effect. Vibrato can invoke an ancient sound when executed with a fast speed and small width, producing a shimmer- like effect. Such a technique is used with discretion in old Gaelic vocal airs or in old sounding Gaelic vocal airs. Medium-speed/medium-width vibrato is more commonly heard in modern airs and slow songs.

In summary: Use vibrato sparingly and only as an ornament with musical intent.

124

The Air

The air is a fiddle tune type that is slow in tempo. Its defining characteristics are its tempo and making frequent and constant use of ornaments, legato playing, long slurs, and rubati . For instance, a lament that is played at a march tempo ceases to be an air and becomes a march instead. Airs are generally used as performance pieces and are used to transport a listener emotionally, convey the fiddler’s feelings, or to tell stories. They can take the form of lamentations, slow listening tunes, pastorals, piobaireachds , or slow songs.

Lamentations or laments are airs written in memoriam to a particular person or event. Listening tunes form the part of the Shetland fiddle tune repertoire that is intended to be simply enjoyed as performance pieces as opposed to being used for dancing. Since the category of listening tunes is so wide, each listening tune has to be evaluated individually to bring out its own musical statements. Pastorals are slow tunes that are not designed for dancing, though some of them have been adopted for use with the slow strathspey dance step (for more on strathspeys, please see page 33). The famous Scottish fiddle composer, James Scott Skinner (1843- 1927), defined many of his moderately paced airs as pastorals. The piobaireachd (pronounced: PEE-bruch, with the ch as in Ba ch ) is associated with the bagpipe tradition. While the “small music” of the bagpipe, the Ceòl Beag (KE- ol beck ), is made up of tunes like regular airs, marches, and dance tunes, the Ceòl Mòr (KE-ol mor ), the “big music,” is the piobaireachd repertoire. Like other airs and laments, piobaireachds were often written to commemorate an event or person. However, the piobaireachd is a form unto itself and is a type of theme (the Urlar ) and variation. They are performed solo and can be quite lengthy – sometimes up to about 20 minutes! Piobaireachds specifically written for the fiddle exist, and they are generally based on the same form (though shorter versions of some tunes exist) and use fiddle specific ornaments. Slow songs are melodies that have been linked to words, yet are performed by a fiddler.

One way in which Scottish airs sound so distinctly Scottish is because of the melodic ornamentation that performers use.

Ornaments

Scottish fiddle tunes are frequently published in their most basic forms, containing only the main melodic notes and general rhythms. There is rarely any additional information given in the form of slurs or ornaments. However, what gives a tune the Scottish sound is how a tune is interpreted, bowed, and ornamented. The improvised use of ornaments is one of the techniques in which a player changes a basic melody into a tune that sounds Scottish. There are many ways to ornament melodies, and the manner in which a fiddler does so eventually becomes the player’s unique “musical footprint”. Though this may sound like a challenging task, there are several different types of techniques that can be used and combined to achieve the traditional Scottish sound.

125 Left-hand Ornaments

Left-hand ornaments are used extensively throughout the Scottish fiddling repertoire. They imitate both the Gaelic singer’s vocal tradition and the Scottish bagpiping ornamental tradition. They are used in every different type of Scottish fiddle tune to varying degrees. Traditional fiddlers improvise their use of ornaments.

The hammer-on is a pitched grace note from beneath the melody note that occurs immediately prior to the beat. The name is taken from the guitar/ tradition because a finger is “hammered” onto the string while the previous note is still ringing. Most hammer-ons frequently occur from an interval of a second (major or minor so that it fits into the key signature or mode) below the targeted melody note. Under certain circumstances, hammer-ons will occur from an interval greater than a second. As the distances between the grace note and the melody note become greater, the hammer-on begins to imitate bagpipe ornaments. Hammer-ons are always slurred into the melody note and both notes are always on the same string.

1. Listen to the ring of the string when played like a banjo:

2. The Seilkie* of Skule Skerry (DVD 1) trad.

* In Scottish mythology, a being that can transform from seal to human.

3. De’il Amang the Tailors – excerpt (DVD 2) trad.

4. MacPherson’s Lament – excerpt (DVD 3) J. MacPherson

5. Add three hammer-ons into the music. Check your answers with the Answer Section on page 39.

Tha mi Sgith (I am Tired) - excerpt trad.

126 Long-distance hammer-ons are pitched grace notes that mimic the sound of the regular hammer-on. Though not technically hammer-ons, as the grace note is on a lower string than the melody note, they fulfill the same function. They are executed by slurring quickly, cleanly, and smoothly from the lower string onto the higher string.

1. Crodh-laoigh nam Bodach (The Old Man’s Calf) (DVD 4) trad.

The crunch is a long-distance hammer-on in the interval of a second (major or minor). A crunch requires a slightly slower string crossing during the slur which creates a very brief moment of a double stop giving it a “crunchy” sound. A crunch most frequently happens on a down-bow.

Written as: Sounds like: (DVD 5)

2. The Arran Boat Song (DVD 6) trad.

3. Add nine hammer-ons (long-distance and regular) into the music. Check your answers with the Answer Section on page 39.

Bi falbh o’n uinneig (Begone from my Window) trad.

127 A pull-off is a pitched grace note from above the melody note that occurs immediately prior to the beat. This will frequently be the same pitch as the previous note. The name is also taken from the guitar/banjo tradition. However, unlike the guitar/banjo tradition, the left-hand finger does NOT pluck the string as it is removed from the string.

(DVD 7)

The following tune is a listening tune from Shetland. It incorporates both hammer-ons and pull-offs.

1. Christmas Day Ida Moarnin (DVD 8) Fredamann Stickle

2. Find locations for two pull-offs. Check your answers with the Answer Section on page 39.

Crodh-laoigh nam Bodach (The Old Man’s Calf) trad.

128

The tap is a non-pitched, percussive grace note that occurs from above the melody note by way of a finger striking the string. This action interrupts the string’s vibration only and will not produce an actual pitch. As a grace-note, the tap will occur immediately prior to the beat. However, as an articulation technique, the tap can be used to separate previously tied notes. In such cases, the tap action will occur on the beat.

1. The tapping finger must be as light as when playing a harmonic and must strike the string in an action similar to a hammer: striking and then immediately releasing. (DVD 9)

(DVD 10) (DVD 11)

2. Repeat the above exercise using the 3 rd finger: and then by using the 2nd finger:

3. Taps can occur anywhere on a string and should still sound the same. As a tap is a percussive ornament, intonation is not a factor in its technique. (DVD 12)

4. Any finger can execute a tap. However, in first position, as the tapping finger is moved farther from the index finger, the more bagpipe-like the tap will sound. When going in the opposite direction, the taps will begin to pick up a bit of pitch. Because of this, the first-finger tap is rarely used in Scottish fiddling. However, it is good to practice the action as it will promote finger speed. (DVD 13)

5.

129 Combination Ornaments

Hammer-ons, pull-offs, and taps are often used together to create more complex sounding ornaments. Such combinations can imitate the sound of the bagpipe especially when used in great quantity. Combination ornaments occur prior to the beat.

Combination Hammer-On/Tap

+ = (DVD 14)

however,

is NOT a combination hammer-on/tap as it is missing the hammer-on portion, but it is rhythmically played as such. It is incorporated in the following exercises due to the manner in which it is played. (DVD 15)

1. Combination Hammer-On/Taps beginning on an open string (DVD 16)

a.

b.

c.

2. Combination Hammer-On/Taps beginning on a first finger a.

b.

130

3. Combination Hammer-On/Taps beginning on a second finger a.

b.

4. (Non-) Combination Hammer-On/Taps beginning on a third finger

a.

5. Mrs. Jamieson’s Favourite – excerpt (DVD 17) C. Grant

6. Hector the Hero – excerpt (DVD 18) J. Scott Skinner

7. The March of Donald, of the Isles, to the – excerpt trad. pipe tune (DVD 19)

131 Combination Pull-Off/Tap

+ = (DVD 20)

however,

is NOT a combination pull-off/tap (or a combination hammer-on/tap) as it is missing the pull-off portion, but it is rhythmically played as such. It is incorporated in the following exercises due to the manner in which it is played.

1. Combination Pull-off/Taps ending on an open string (DVD 21) a.

b.

c.

2. Combination Pull-off/Taps ending on a first finger a.

b.

3. Combination Pull-off/Taps ending on a second finger

132 4. Pull-offs starting from a tap and ending on an open string

5. Pull-offs starting from a tap and ending on a first finger or second finger

6. Is Truagh Nach D’Rugadh Dall Mi (Alas That I Was Not Born Blind) – excerpt William Ross (DVD 22)

7. In this excerpt, combine hammer-ons, combination pull-off/taps, and combination hammer-on/taps.

Archibald MacDonald of Keppoch - excerpt (DVD 23) trad.

8. Fill-in locations for two pull-offs. Check your answers with the Answer Section on page 39.

Mrs. Jamieson’s Favourite – excerpt C. Grant

133 Ultimately, there are many different combinations of hammer-ons, pulls-offs, and taps. It is up to the fiddler to find which ones give the best sound to each musical thought.

Musical phrasing is very important in playing airs. Traditional Scottish fiddlers improvise their bowings and each fiddler may have different interpretations about how to phrase a tune. However, whatever the interpretation, the bowings that the fiddler uses are designed to follow the contours of the phrases. A fiddler may even change his/her mind about the interpretation (and therefore the bowings) each time a tune is played! Such bowings are not necessarily confined to the length of a measure as measure bars do not always delineate the ends of phrases.

In addition, notated rhythms do not always convey the true expressive rhythm of the piece and the fiddler may “tweek” them a little to get the full musical effect that is desired. Each performance of a Scottish fiddle tune should ultimately be a reflection of the fiddler’s personal musical statement.

For instance, the Gaelic vocal Air, Eilean a' cheò was originally published in the 19 th century in time (figure 1), but because it is more naturally performed in , it can now also be found written in (figure 2).

Figure 1

Eilean a' cheò (The Isle of Skye) Mairi Nighean Iain Bhain

The dashed lines indicate suggested phrases – NOT slurs.

Figure 2

Eilean a' cheò (The Isle of Skye) Mairi Nighean Iain Bhain

The dashed lines indicate suggested phrases – NOT slurs.

134 The first two measures of Niel Gow’s Lamentation for James , Esq., of Abercarney can be phrased in several different ways. The rhythm is changed to round out the melodic line and make it more singable. Notice how the original version lacks bowings even though it would never be performed as such. The bowings of the different options change the musical phrasing of the excerpt.

Niel Gow’s Lamentation for James Moray, Esq., of Abercarney - excerpt Niel Gow

As written:

Option 1:

Option 2:

Option 3:

Add bowings for the following air:

They Stole My Wife From Me Last Night trad.

Check your bowings against the Answer Section at the back of the book on page 40.

135 Marches

There are three main types of marches: those in , , and . These stem primarily from the military tradition. Bagpipe music has contributed heavily to all march forms as it is a main melody instrument in the Scottish military regimental bands. When playing tunes that are from the bagpipe tradition, dynamics should be frequently held at one level, and many ornaments should be included. Keep the tempo of a march down to a controlled pace that would be used by a military unit on a long-distance march – not the pace of a Sousa march!

and marches are played very much in the same manner. Strong beats emphasize where the feet are put down but don’t neglect the off-beats as the march will take on a feel of being pounded into the ground – especially during eighth-note passages in cut time. Notice how when playing bagpipe tunes, the Gs are always natural, thus mimicking the mixolydian mode of the bagpipe tuning.

Campbell’s Farewell to Redcastle ( h = 82) (DVD 24) bagpipe trad.

Below is an excerpt of how Campbell’s Farewell to Redcastle would be notated in a fiddle source. The above version is rhythmically based on the bagpipe band setting. As the tune is of bagpipe origin, despite the notation that the fiddle source would use, the tune should be performed using the rhythms from above.

136 In The Battle of Waterloo , the bowings separate the phrases and lend the march some lilt.

The Battle of Waterloo ( h = 94) (DVD 25) bagpipe trad.

Marches written specifically for the fiddle are played similarly to the bagpipe marches, though they will frequently include more rhythmic swing, a greater melodic range, and a slightly faster tempo. J. Scott Skinner, a fiddler and composer from the North-East of Scotland, wrote many fiddle marches. Like many Scottish fiddle music composers, Skinner did not notate the swing into the rhythm of many of his marches. Therefore, the performer must add swing into the music in a fashion similar to the bagpipe marches. Don’t neglect the off-beats as the march will take on a feel of being pounded into the ground. Skinner’s marches also frequently make use of a North-East technique called a unison.

Two More Ornaments Needed: The Unison & The Turn

Unisons are used to emphasize a particularly important pitch that happens to be an open string. Such instances will frequently occur at the beginnings and ends of phases in marches and strathspeys, though they are also sometimes used for their resonance in airs. In tunes other than airs, unisons frequently follow a high third finger hammer-on.

Turns are another type of combination ornament. They utilize taps as well and are convenient ornaments to use during ties. They can also be used to highlight important notes at critical points in phrases. Though shown here with a fourth-finger tap, a third-finger tap would also be appropriate.

= (DVD 26)

= 137

These following two marches use both unisons and turns in their ornamentation.

Scott Skinner’s Compliments to Dr. MacDonald ( q = 78) (DVD 27) J. Scott Skinner

The Surgeon’s Triumph ( h = 76-82) (DVD 28) J. Scott Skinner

marches are always written in a dotted rhythm pattern and the dotted-eighth/sixteenth/eighth rhythm is the most commonly found. The rhythms in marches are played exactly as they appear on the page. The 16 th note should not be any less in volume that the other two notes of the three- note cluster. When practicing, subdivide the rhythms when counting so that the rhythms are always crisp and exact.

138 When playing the following pipe march, be aware that the G hammer-ons on the E string are still G natural due to mimicking the bagpipe’s mixolydian tuning. Remember to keep the pace steady and at a reasonable marching tempo. Use open strings to allow the open resonance of the fiddle to be heard. This is a standard four-part pipe march as it has four 8-bar repeated sections.

The March of Donald, Lord of the Isles, to the Battle of Harlaw ( q. =56) (DVD 29) bagpipe trad.

A brief note on the title: The Battle of Harlaw was fought on July 24, 1411 between the forces of Donald MacDonald, Lord of the Isles, and the forces of the Earl of Mar over disputed claims for the Earldom of Ross in northern Scotland. It was such a vicious battle that it became known as “Red Harlaw.” 3

3 Magnusson, M. (2003). Scotland: The Story of a Nation . New York: Grove Press. 139 Dance Music

Scottish fiddle dance music includes such tune types as jigs, reels, and strathspeys. These tune types are frequently 16 measures long and generally in AB form with the A and B parts equal in length.

Common practice is to perform dance tunes twice through with the necessary repeats.

The Jig

The jig is played in time. Even though eighth-note passages are always written with even eighth notes, all Scottish jigs are rhythmically swung. It is the fiddler’s responsibility to add the swing to the tune. The swing used in a jig is very subtle and light and is rhythmically right between the dotted eighth/sixteenth/eighth pattern and the three even eighth-note pattern. Do not rhythmically subdivide when playing jigs or the rhythm will come out too exaggerated and will sound more like a march than a jig. Flexible right-hand fingers and wrist articulate this rhythm. (DVD 30)

= Heavy swing (standard Scottish march rhythm)

= Light swing = Scottish Jig rhythm as played = Hip-pi-ty, Hop-pi-ty (When spoken within its natural rhythmic syllabication)

= Even eighth notes (Scottish jig notation)

Because of the visual complexity of the true Scottish jig rhythm, eighth-note groupings are shown instead as even eighth notes.

Stylistically, the Scottish jig rhythm is played as:

Practice mentally adding the Scottish jig swing into the following exercise. (Watch out for the bagpipe-like ending!)

My Wife’s A Wanton Wee Thing ( q. = 104) (DVD 31) trad.

140

Jig bowings are not standardized and can be used in many different ways to reflect different rhythmic and phrasing possibilities. Additionally, sometimes changing bowing patterns when repeating a tune can create variation and musical interest.

Here are ten examples of bowings that are frequently used:

1. 2. 3. 4. 5.

6. 7. 8. 9.

10.

Any rhythmic variation of this:

In the following jigs, draw in your own bowings, add some ornaments, and compare your results to the bowed versions in the Answer Section. Keep in mind that there are many possible correct answers. Look for commonalities between your answers and the options provided.

Drummond Castle trad .

One good way of practicing jigs is to practice them slower and in a march rhythm. Then, as the tempo increases, relax the rhythm into the Scottish jig rhythm.

Mr. Charles Graham’s Welcome Home W. Gow

141 The Reel

Reels, one of the most common tune types, comprise a large part of the Scottish fiddle repertoire. They are dance tunes and are played not only for Scottish Country Dancing, but also for general performance. They are notated in common or cut time, yet are always played in cut time. They frequently include long series of even eighth or sixteenth notes. However, reels are swung rhythmically, though the swing is very light and subtle. The swing gives the rhythm a more relaxed quality. (DVD 32)

= Heavy swing

= Medium swing

= Light swing = Scottish reel swing

= Even eighth notes

Because the swing used in Scottish reels is so light and so complicated to write out, it is simpler to write the tunes using even eighth notes. Scottish reels have been written in this manner for centuries.

Practicing the following exercises will help you to find the Scottish reel swing.

1. Start with a heavy swing and gradually simplify the rhythm into regular eighth-notes.

2. Start with regular eighth notes and gradually add swing.

3. Starting on regular eighth-notes, alternate between even eighth-notes and the very light Scottish swing.

4. Starting with the Scottish swing, alternate between the very light Scottish swing and even eighth-notes.

5. Play this scale using the light Scottish swing.

142 Hack-bowing is the term that many Scottish fiddlers use to indicate a back and forth (down, up, down, up, etc.) bowing. As that is not always the most comfortable bowing style to use, slurs that simply encourage down-bows at the beginnings of measures or on the beats are often used. Play the following tune using such slurs and the Scottish reel swing.

Skye Dance #27 ( h = 102 ) (DVD 33) trad.

As reels are dance music, too much emphasis on beats 1 and 3 is inappropriate. This grinds the tune into the ground. For that reason, Scottish reels emphasize beats 2 and 4. This emphasis gives the tunes life and lift. 1 & 2 & 3 & 4 &

When accenting, use a martelé attack of leaning the stick of the bow into the hair and quickly releasing. This applies to both up-bow accents and down-bow accents.

Play the following reel with swing and with emphasis on beats 2 and 4. Begin practicing at a slow tempo, and then gradually speed up. Use very little bow length when playing the piece. At final tempo (h = 104) , only approximately one inch of bow should be used.

Traditional Reel in the Style of Donald MacLeod (DVD 34) trad.

143 Bowings in reels are not standardized. Different Scottish fiddlers use different bowings at different moments in tunes. However, they all will try to promote the contour of the phrase and emphasize beats 2 and 4.

One bowing pattern that is used frequently is an up-bow slur that encompasses one and half beats. For the purposes of this manual, such a slur will be known as a Beat-And-A-Half or “BAAH” slur. It is frequently heard beginning on an off-beat and is useful to give direction to a pick-up beat.

Mid-measure Between Measures

As a pick-up bowing, it can be done either up-bow or down-bow depending on the desired effect.

A “BAAH” slur is frequently added at the change in the melodic direction:

The slur’s up-bow direction allows it to be framed by down-bows. Either position within the measure (mid-measure or between-measures) allows the down-bows to fall on and help to emphasize beats 2 and 4.

144 However, to prevent the bow contact-point from drifting down toward the frog after several repetitions of this technique, the down-bow immediately prior to the slur must be pulled with great speed so that the bow- stroke ends high in the upper half of the bow. Then the slur is executed with a slower bow-speed. The down-bow immediately following the slur is then yanked in the same manner as the previous down-bow. The following examples are marked with Ys to indicate a “yank,”* a quick down-bow. The “yanks” help to emphasize beats 2 and 4 as well.

(DVD 35)

The following examples show how a single reel can be performed with two different bowings.

North Highland Reel # 21 – excerpt trad.

Bowing option 1: Basic bowings only; no BAAH slurs or “yanks” (DVD 36)

Bowing option 2: Basic bowings and BAAH slurs (DVD 37)

Y Y

Y Y

A word of caution: Do not overuse BAAH slurs in the same pattern repeatedly. The rhythm will sound too predictable and pedantic. Three repeats of a pattern in an eight-measure phrase should be plenty.

Sleep Soond Ida Moarnin – excerpt (DVD 38) Shetland trad.

1x 2x

3x breaking the pattern

* The “yank” is merely a suggestion to facilitate stylistic bow technique.

145 BAAH slurs are quite prevalent in the Shetland reel repertoire. The Shetland fiddlers developed them as a way to mimic the dancing rhythm of the Shetland reel (a dance) and as a way to integrate longer bows into fast dance tunes to give their right arms a rest while playing for a dance.

In some tunes, the melodic contour shows the fiddler where BAAH slurs can be used to accent beats 1 and 3.

Faroe Rum (DVD 39) Shetland trad.

In reels, slurs longer than a beat and a half are seldom used. Rarely does a full measure of eighth notes ever include two long slurs of four eighth notes each. Additionally, eighth notes grouped by beat are rarely slurred repeatedly.

Syncopation

Syncopation is sometimes found in reels – particularly if they are from Shetland. When they appear, do not release the bow from the string following the syncopation. Instead, accent the beat within the syncopation by leaning the hand into the stick so that the stick moves closer to the bow hair.

In Sleep Soond Ida Moarnin , accent/pulse beat 2 on an up-bow by leaning the stick of the bow in toward the string. Then, keep the bow connected to the string between the notes on beats 2 and 2.5. Notice the BAAH slur in the first measure.

Sleep Soond Ida Moarnin (DVD 40) Shetland trad.

Ornaments in Reels

Ornaments in reels are not used to the degree of frequency that they are used in airs and marches. This is mostly due to the speed in which reels are played. Therefore, ornaments are most often found on longer held notes than in the middle of fast runs. 146 Fill in the following tune with two different bowings. Use a mixture of basic and BAAH bowings. Two blank versions are here for your use. Compare these to the versions in the Answer Section on pages 41-42.

Loch Earn (1) Nath. Gow

Loch Earn (2) Nath. Gow

Fill in the following tunes with your choice of bowings and ornaments. Use a mixture of basic and BAAH bowings. Compare these to the versions in the Answer Section on pages 42-45.

De’il Amang the Tailors trad.

147 Rachel Rae J. Lowe

Sleepy Maggie trad.

Clach na Cudain (The Cross of Inverness) trad.

148 The Birl

Named after the bagpipe’s grace note ornament of the same name and similar sound, the birl is a right hand technique. Birls are comprised of two sixteenth notes followed by an eighth note with all pitches the same. Commonly found in both reels and strathspeys, they are most frequently attacked with a down bow.

Birls are not played in the rhythm that they are written. Birls are one beat in duration and can be used to occasionally ornament quarter notes. The first two notes of the birl are played at the same speed regardless of the tempo of the tune.

As traditionally written: = As played: (DVD 41)

The type of bow technique needed to execute the initial two notes of the birl requires very short bow strokes with a great deal of pressure on the bow. In the upper half of your bow, play the following passage as fast as you can, using less than one inch of bow and with very heavy pressure. This should produce an ugly, scrubby sound. Practice the technique below:

The following exercises develop the above technique into the birl. While playing these, don’t forget to release any extra tension in your right arm during the dotted-eighth notes and quarter notes.

1. 2. 3.

1. Birls and the recovering quarter notes on the same pitch

Note: The entire following passage is comprised of birls. The notation changes from “as played” to “as traditionally written.” Despite the different notations, all of the birls should be played the same.

149 2. Birls with the recovering quarter notes on a different pitch Again, despite the different notations, all of the birls should be played the same.

3. Birls surrounded by moving eighth notes

Jenny Dang* the Weaver – excerpt ( h = 100) (DVD 42) trad.

Remember, all of the should be played as .

* “Dang” means “hit” or “struck” in Scots, a Germanic language/dialect used in Scotland

Mains of Gartly – excerpt (DVD 43) trad.

In the following tune, add your own bowings and ornaments and compare them to the examples in the back of the manual in the Answer Section on page 45.

The Pipe Slang trad.

150 Strathspeys

Strathspeys are the only authentic Scottish type of tune. The term, strathspey, means “Valley of the Spey” in . Centuries ago, in the area along the Spey River, musicians started playing reels with modified rhythms. Eventually, both a dance form and a musical form called the strathspey evolved.

Strathspeys are in meter and contain many dotted-eighth-sixteenth note patterns. One particular pattern is called the Scottish Snap.

The Scottish Snap

It is very frequently found in conjunction with its reverse rhythm.

However, the Scottish Snap is not played exactly the same way as it written.

As written: = As played: Sounds like: “Dru-mmond”

(DVD 44)

When played with the Snap, the is played: Sounds like: “Ex-tra”

Strathspeys can be generally played in two different regional styles: West Highland and North-East. Depending upon the regional style, bowings that are used will sometimes differ between regions. A single tune may be played several different ways depending upon the regional style.

West Highland Strathspeys

Strathspeys played in the West Highland style are used for highland dancing. Due to the vertical hopping motion of Highland dancing, emphasis is on all four beats of the measure and is played faster than North- East strathspeys. Hack bowing is used frequently. An approximate final tempo of q = 132 works well to capture the spirit of a highland strathspey.

As this is an aggressive sounding tune, hack bowing should be played in the lower half of the bow to allow the bow to release from the string and to re-connect with the string with minimum ricochet. Releasing the bow between beats one and two helps give this particular tune lift.

The Braes of Mar (DVD 45) trad.

151 Not all West Highland strathspeys use solely hack bowings. Very frequently, slurs and hooked bows are needed to allow down-bows to fall on the beats and to add musical interest to the phrasing.

1. Using slurs out of bowing necessity:

Miss Drummond of Perth (DVD 46) trad.

2. Use slurs for musical interest and hooked bows for bowing necessity; These slurs add to the idiomatic tension required in strathspeys. When a 16 th note begins a slurred pair, treat the 16 th like a hammer-on or pull-off.

Black Duncan (DVD 47) trad.

3. Add your own bowings and ornaments into the following tunes. Compare your versions with examples in the Answer Section on pages 45-46.

Ca’ the Stirks Frae Oot the Corn * trad.

* In Scots, a Germanic language/dialect used in Scotland, Ca’ the Stirks Frae Oot the Corn means “Call the Young Steers from out of the Corn.”

152 Alasdair MacAlasdair trad.

North-East Strathspeys

Strathspeys played in the North-East tradition would be used as concert tunes and for Scottish country dancing. Due to the horizontal motion of Scottish country dancing, emphasis is more frequently played on beats two and four. North-East strathspeys are slower than West Highland strathspeys. To emphasize the gracefulness of the dance, slurs are common and the bow’s contact point will frequently be above the middle of the stick. An approximate final tempo of h = 54 works very well to capture the graceful spirit of a North-East strathspey.

Lady Louisa Gordon (DVD 48) W. Marshall

The Laird o’ MacIntosh (DVD 49) trad.

153 Add your own bowings and ornaments into the following tune. In the section of even eighth notes, add your own dotted rhythms. Compare your version with example in the Answer Section on page 46.

Hallow E’en trad.

Sixteenth-note Runs (DVD 50)

In strathspeys, sixteenth note runs in groups of four will often occur. They will never be played as written.

16 th runs as written: As rhythmically played:

Most times, such a rhythm is bowed in the following way:

16 th runs with written bowings: As played:

1.

2.

154 Brisk Bob (DVD 51) trad.

The following is a strathspey of a more highland character. Its final tempo should be roughly q = 116 .

Captain Campbell (DVD 52 ) trad.

Triplet Runs

In strathspeys, triplets and triplet runs will often occur. They are seldom played as written. However, the way in which they are played depends heavily on the melodic context of the tunes and the musical taste of the fiddler playing the tune. It is far more important that SOMETHING rhythmically interesting be done rather than following a prescribed interpretation.

As written:

As played: or , or , or , or

or or or

155

The jig rhythm, , however, is the most common rhythm used for triplets. It should be used as a default rhythm.

When found in a series, the rhythmic patterns are often mixed.

Example 1:

As written: As played:

Example 2:

As written:

As played:

Add your own bowings, ornaments, and rhythms to the following tunes and compare them to the examples in the Answer Section on page 46-47.

Peter Bailie trad.

The Fisher’s Rant trad.

156 The opposite is true as well; figures with two sixteenth notes and a single eighth note may be altered rhythmically (triplet-ized or rushed) to produce a different musical effect. Again, the way in which they are played depends heavily on the melodic context of the tunes and the musical taste of the fiddler playing the tune.

For instance can become:

and can become:

Up-Driven Bow

A specialized bowing found in aggressive North-East strathspeys, the “up-driven bow,” is actually a set of four different bowing articulations. Though it is rarely notated in music, the up-driven bow may be indicated with a straight slur. However, it is always applied to a specific rhythm although the rhythm itself is not always played with an up-driven bow. It is best to use this articulation in moderation.

The Up-Driven Bow rhythmic pattern:

The Up-Driven Bow as played: (DVD 53)

The first note is played with a fast down-bow to bring the bow/string contact point into the upper half of the bow. The second note is up-bow with slow bow speed which saves the bow length for the following two notes. From the second note, slur into the third note, yet articulate its beginning with a pulse of bow speed and pressure. A tap ornament is also frequently played just before the third note. The bow should be released from the string between the third and fourth notes. The bottom half of the bow should now be hovering above the string. The final note is attacked from the air, played with a very short stroke, and is quickly released back into the air. Upon completion of an up-driven bow, the very bottom of the bow should be hovering above the string.

Bruachan Loch Nis (The Banks of Loch Ness) (DVD 54) trad .

157 Miss Lyall (DVD 55) trad.

Add your own bowings, ornaments, and rhythms to the following tunes and compare them to the examples in the Answer Section on pages 47-48.

The Brig O’Potarch J. Scott Skinner

The Kirrie Kebbuck* J. Scott Skinner

* In Scots, a “kebbuck” is a large cheese. 158 Answer Section p. 6 Tha mi Sgith – excerpt (DVD 56) trad.

* Either G or Open E As this is in the Dorian mode, an F# hammer-on is appropriate.

p. 7 Bi falbh o’n uinneig (Begone from my Window) (DVD 57) trad.

p. 8 Crodh-laoigh nam Bodach (The Old Man’s Calf) (DVD 58) trad.

p. 13 Mrs. Jamieson’s Favourite – excerpt (DVD 59) C. Grant

Or:

Or:

159 p. 15 They Stole My Wife From Me Last Night (DVD 60) trad.

Both bowing options are acceptable. Combinations of the bowings from between the two different options are also acceptable.

a.

b.

p. 21 Drummond Castle (DVD 61) trad. Both bowing and ornament options are acceptable. Combinations of the bowings or ornaments from between the two different options are also acceptable.

a.

b.

160

p. 21 Mr. Charles Graham’s Welcome Home (DVD 62) W. Gow

Both bowing and ornament options are acceptable. Combinations of the bowings or ornaments from between the two different options are also acceptable.

a.

b.

p.27 Loch Earn (DVD 63) Nath. Gow

Both bowing and ornament options are acceptable. Combinations of the bowings or ornaments from between the two different options are also acceptable.

a.

161

b.

p. 27 De’il Amang the Tailors (DVD 64) trad.

Both bowing and ornament options are acceptable. Combinations of the bowings or ornaments from between the two different options are also acceptable.

a.

b.

162

p. 28 Rachel Rae (DVD 65) J. Lowe

Both bowing and ornament options are acceptable. Combinations of the bowings or ornaments from between the two different options are also acceptable.

a.

b.

p. 28 Sleepy Maggie (DVD 66) trad.

Both bowing and ornament options are acceptable. Combinations of the bowings or ornaments from between the two different options are also acceptable.

a.

163

b.

p. 28 Clach na Cudain (DVD 67) trad.

All bowing and ornament options are acceptable. Combinations of the bowings or ornaments from between the three different options are also acceptable.

a.

b.

164

c.

p. 30 The Pipe Slang (DVD 68) trad.

p. 32 Ca’ the Stirks Frae Oot the Corn (DVD 69) trad .

165 p. 33 Alasdair MacAlasdair (DVD 70) trad.

p. 34 Hallow E’en (DVD 71) trad.

p. 36 Peter Bailie (DVD 72) trad.

166 p. 36 The Fisher’s Rant (DVD 73) trad.

p. 38 The Brig O’Potarch (DVD 74) J. Scott Skinner

a

b.

167 p. 38 The Kirrie Kebbuck (DVD 75) J. Scott Skinner

a.

b.

Some Full Tunes from Excerpts That Are Not Included in the Text

p. 25 North Highland Reel #21 (DVD 76) trad.

168 p. 30 Jenny Dang the Weaver (DVD 77) trad.

p. 30 The Mains of Gartly (DVD 78) J. Scott Skinner

a.

b.

c.

169 APPENDIX A ADDITIONAL LISTENING

Anderson, Paul North-East Style Journey Home, The (1997) Home and Beauty (2005)

Baker, Elke Scottish Terpsichore (1993) Over the Boarder (1996) Glenelg (2001) Caledonian Muse (2006)

Cassell, Hanneke Scottish My Joy (2001) Many Happy Returns (2003) Some Melodious Sonnet (2004) Silver (2006) Calm the Raging Sea (2007) For Reasons Unseen (2009)

Chisholm, Duncan Scottish – mostly Highland Redpoint (1997) Door of Saints, The (2001) Farrar (2008)

Crawford, Melinda Scottish Wandering Suitcase of Suitcase, The (2006) New Caledonian Four (2008) (also with John Turner & Colyn Fischer)

Fischer, Colyn Scottish Light of Day, The (2008) New Caledonian Four (2008) (also with Melinda Crawford & JohnTurner)

Fraser, Alasdair Scottish Portrait of a Scottish Fiddler (1983) Skyedance (1985) Driven Bow, The (1987) The Road North (1989) Return to Kintail (1999) Legacy of the Scottish Fiddle, vol. 1 (2002) Legacy of the Scottish Fiddle, vol. 2 (2004)

Hardie, Ian Scottish The Spider’s Web (1998)

Hunter, Trevor Shetland From Shetland (1991)

MacDonald, Catriona Shetland Bold (2000) Over the Moon (2007)

MacFarlane, Iain Scottish – mostly Highland The First Harvest (2002)

MacGregor, Bruce Scottish – mostly Highland 101 Reasons to do Nothing (2001) Loch Ness (2003)

Rideout, Bonnie Scottish Soft May Morn (1994) Scottish Fire (2000) Scottish Inheritance (2003) Celtic Circles (2004) Kindred Spirits (2006)

Turner, John Scottish Wanderer’s Lament (1999) Fiddling Rouges and Rascals (2003) Giant in His Field, A (2006) New Caledonian Four (2008) (also with Melinda Crawford & Colyn Fischer) Favourite Scotch Measures (2008) 170 APPENDIX B SUGGESTED MUSIC RESOURCES

Anderson, T. & Swing, P. (Eds.). (1981). Haand Me Doon Da Fiddle (2 nd ed.). Stirling, Scotland, UK: The University of Stirling Press.

Fraser, S. (Ed.). (1986). The Airs and Melodies Peculiar to the Highlands of Scotland and the Isles (2 nd ed.). Cape Breton, Nova Scotia, Canada: Cranford Publications.

Hardie, A. (1992). The Caledonian Companion . Edinburgh, Scotland, UK: The Hardie Press.

Hunter, J. (Ed.). (1988). The Fiddle Music of Scotland (Rev. ed.: A. Hardie, & W. Hardie, Eds.). Edinburgh, Scotland, UK: The Hardie Press.

MacDonald, K. N. (Ed.). (1986). The Skye Collection (2 nd ed.). Cape Breton, Nova Scotia, Canada: Cranford Publications.

MacDonald, K. N. (Ed.). (1997). The Gesto Collection of Highland Music (2 nd ed.). Felinfach, Wales, UK: Llanerch Publishers.

Martin, C. (Ed.). (1998). The Fiddle Music of the Scottish Highlands: Vol. 1 and 2 . Isle of Skye, Scotland, UK: Taigh Na Teud.

Martin, C. (Ed.). (1999). The Fiddle Music of the Scottish Highlands: Vol. 3 and 4 . Isle of Skye, Scotland, UK: Taigh Na Teud.

Martin, C. (Ed.). (2000). The Fiddle Music of the Scottish Highlands: Vol. 5 and 6 . Isle of Skye, Scotland, UK: Taigh Na Teud.

McDonald, P. (Ed.). (1996). A Collection of Highland Vocal Airs (2 nd ed.). Louisville, KY: Hill House Music and Design.

Robertson, J. S. (Ed.). (1996). The Athole Collection of the Dance Music of Scotland (2 nd ed.). Inverness, Scotland, UK: Balnain House Trust.

171 APPENDIX C MAP and REGIONAL STYLES

* SCOTLAND Shetland The locations marked on this map are places after which different tunes in this manual are named. Islands Regions and Regional Fiddle Styles

Shetland – Frequently reminiscent of the Norwegian Hardanger fiddle, its many double stops and the use of Orkney sympathetic vibrations imply a Nordic heritage. Skule Skerry • The style does not traditionally include Islands strathspeys. Slurs of a beat and a half are frequently used. Music will often use syncopation.

Orkney – One of the less frequently discussed regional styles. Generally, a simple style: basic Mains of Gartly • • bowings with little use Isle of • Harlaw of slurs and little to Skye Loch Ness • no vibrato River Spey Potarch

West Highland – Loch Earn • Perth Heavily influenced by the bagpipe and Gaelic vocal music. Many birls and other  bagpipe-mimicking ornaments Edinburgh and double stops are frequently included.

Isle of Arran North-East – Heavily influenced by the European classical art music tradition. Will include demanding techniques such as unisons and the up-driven bow. Flat keys are common.

Lowlands – Does not have a style of its own. Instead, a conglomerate of the surrounding regional styles can be heard there.

Borders – One of the less frequently discussed regional styles. Very frequent use of double stopping is a hallmark of this style.

* This map is a representation only. It is not to scale and is simply designed to be a general reference 172

TUNE INDEX

Excerpts are marked with (e). Tunes that are played commonly in jam sessions are marked with an *.

Alasdair MacAlasdair trad. strathspey 33, 46 Archibald MacDonald of Keppoch (excerpt) trad. air 13 Arran Boat Song, The * trad. air 7 Battle of Waterloo, The * trad. pipe tune march 17 Bi falbh o’n uinneig (Begone from My Window) trad. air 7, 39 Black Duncan trad. strathspey 32 Braes of Mar, The * trad. strathspey 31 Brig O’Potarch, The J. Scott Skinner strathspey 38, 47 Brisk Bob trad. strathspey 35 Bruachan Loch Nis (The Banks of Loch Ness) trad. strathspey 37 Ca’ the Stirks Frae Oot the Corn trad. strathspey 32, 45 Campbell’s Farewell to Redcastle * trad. pipe tune march 16 Captain Campbell * trad. strathspey 35 Christmas Day Ida Moarnin F. Stickle listening tune 8 Clach na Cudain (The Cross of Inverness) * trad. reel 28, 44, 45 Crodh-laoigh nam Bodach (The Old Man’s Calf) trad. air 7, 8, 39 De’il Amang the Tailors, The * trad. reel (e)6, 27, 42 Drummond Castle * trad. jig 21, 40 Eilean a’ cheò (The Isle of Skye) M. Nighean Iain Bhain air 14 Faroe Rum * Shetland trad. reel 26 Fisher’s Rant, The trad. strathspey 36, 47 Hallow E’en trad. strathspey 34, 46 Hector the Hero (excerpt) J. Scott Skinner air 11 Is Truagh Nach D’Rugadh Dall Mi (Alas I Was Not Born Blind) (excerpt) W. Ross air 13 Jenny Dang the Weaver * trad. reel 30, 49 Kirrie Kebbuck, The * J. Scott Skinner strathspey 38, 48 Lady Louisa Gordon W. Marshall strathspey 33 Laird of MacIntosh, The trad. strathspey 33 Loch Earn Nath. Gow reel 27, 41, 42 MacPherson’s Lament (excerpt) J. MacPherson air (e)6 Mains of Gartly J. Scott Skinner reel 30, 49 March of Donald, Lord of the Isles, to the Battle of Harlaw, The trad. pipe tune march (e)11, 19 Miss Drummond of Perth * trad. strathspey 32 Miss Lyall * trad. strathspey 38 Mr. Charles Graham’s Welcome Home W. Gow jig 21, 41 Mrs. Jamieson’s Favourite (excerpt) C. Grant air 11, 13, 39 My Wife’s a Wanton Wee Thing trad. jig 20 Niel Gow’s Lamentation for James Moray, Esq., of Abercarney (excerpt) N. Gow air 15 North Highland Reel #21 trad. reel (e)25, 48 Peter Bailie trad. strathspey 36, 46 Pipe Slang, The trad. reel 30, 45 Rachel Rae * J. Lowe reel 28, 43 Scott Skinner’s Compliments to Dr. MacDonald J. Scott Skinner march 18 Seilkie of Skerry, The Orkney trad. air 6 Skye Dance #27 trad. reel 23 Sleep Soond Ida Moarnin * Shetland trad. reel (e)25, 26 Sleepy Maggie * trad. reel 28, 43, 44 Surgeon’s Triumph, The J. Scott Skinner march 18 Tha mi Sgith (I am Tired) * trad. air (e)6, 39 They Stole My Wife From Me Last Night * trad. air 15, 40 Traditional Reel in the Style of Donald MacLeod trad. reel 23

173

TOPICAL INDEX

bagpipe 16 swing 22 th 16 note runs 34 fiddle 17 syncopation in 26 Airs 2, 5-15 Marshall, William 2-3 Rizzio, David 2 Answer Sections 39-48 Mary, Queen of Scots 2-3 Scotland Bagpipe Musical phrasing in airs 14-15 historical timeline 3 march tradition 16-18 Musical resources, additional 51 map of 52 tuning 16 North-East regions 52 Birls 29-30 map of 52 Scottish country dancing 22, 33 Borders 52 strathspeys 31, 33, 37 Scottish fiddling Bowing style overview 52 history of 2 BAAH slurs 24-26 technique 17 publishing tradition 2 for musical phrasing 15 Orkney regional styles 52 hack bowing 23, 31 map of 52 Scottish snap 31 in airs 15 style overview 52 Shetland in reels 23-26 Ornaments Bowings 26 in strathspeys 31-34 combin. ornaments …. 10-14 listening tunes 5 Up-driven bow 37 hammer-on/tap 10-11 map of 52 “yanks” 25 pull-off/tap 12-13 style overview 52 Ceòl Beag 5 crunch 7 Skinner, James Scott 2, 3, 17 Ceòl Mòr 5 hammer-on 6, 17 Slow songs 5 Dance music 20, 22 long-distance 7 Strathspey 31-38 Fingering Choices 4 in marches 16 16 th note runs 34 Full tunes from excerpts 48-49 in reels 26 North-East 31, 33, 37 Gaelic vocal airs 4 in strathspeys 32 triplets in 35 Gow, Niel 2-3 left-hand 6 unisons in 17 Highland dancing 31 pull-off 8 Up-driven bow 37 Jig 2, 20-21 tap 9 West Highland 31-33, 35 bowings 21 turns 17 Triplets 35-36 rhythm 20-21, 36 unison 17 Tune Index 54 swing 20 vibrato 4 Up-driven bow 37 King James IV of Scotland 2 Pastorals 5 Urlar 5 Lament(ations) 5 Piobaireachd 5 vibrato 4 Listening, additional 50 Playford, Henry 2 vidula 2 Mackintosh, Robert 2 Reel 22-28 West Highland March 2, 16-19 beat emphasis 23, 25 map of 52 2/4 16 bowings 23-26 strathspeys 31-33, 35 4/4 16 ornaments in 26 style overview 52 6/8 18

174

Appendix B: Evaluation Forms

175 Sample Manual and DVD Evaluation Form for String Pedagogues Initial Review

Name: ______

How much do you agree with the following statements?

1. The sequencing in this manual makes pedagogical sense.

Strongly Disagree Disagree Neutral Agree Strongly Agree

1 2 3 4 5

2. The technical descriptions are understandable.

Strongly Disagree Disagree Neutral Agree Strongly Agree

1 2 3 4 5

3. The musical examples appear to be well matched to the technique that they are illustrating.

Strongly Disagree Disagree Neutral Agree Strongly Agree

1 2 3 4 5

176

Sample Manual and DVD Evaluation Form for String Pedagogues Second Review

Name: ______

How much do you agree with the following statements?

1. The sequencing in this manual makes pedagogical sense.

Strongly Disagree Disagree Neutral Agree Strongly Agree

1 2 3 4 5

2. The technical descriptions are understandable.

Strongly Disagree Disagree Neutral Agree Strongly Agree

1 2 3 4 5

3. The musical examples appear to be well matched to the technique that they are illustrating.

Strongly Disagree Disagree Neutral Agree Strongly Agree

1 2 3 4 5

177 Sample Manual and DVD Evaluation Form for Scottish Fiddling Experts Initial Review

Name: ______

How much do you agree with the following statements?

1. The tunes included in this manual are a good representation of the traditional Scottish fiddling repertoire.

Strongly Disagree Disagree Neutral Agree Strongly Agree

1 2 3 4 5

2. The technical descriptions are understandable.

Strongly Disagree Disagree Neutral Agree Strongly Agree

1 2 3 4 5

3. This manual appears to be an effective way to teach authentic Scottish fiddling.

Strongly Disagree Disagree Neutral Agree Strongly Agree

1 2 3 4 5

178

Sample Manual and DVD Evaluation Form for Scottish Fiddling Experts Second Review

Name: ______

How much do you agree with the following statements?

1. The tunes included in this manual are a good representation of the traditional Scottish fiddling repertoire.

Strongly Disagree Disagree Neutral Agree Strongly Agree

1 2 3 4 5

2. The performances in the video clips convey the traditional Scottish fiddling style accurately.

Strongly Disagree Disagree Neutral Agree Strongly Agree

1 2 3 4 5

3. This manual appears to be an effective way to teach authentic Scottish fiddling.

Strongly Disagree Disagree Neutral Agree Strongly Agree

1 2 3 4 5

179

Appendix C: Pretest and Posttest Questionnaires

180 A Manual for the Learning of Traditional Scottish Fiddling: Design, Development, and Effectiveness

Participant Application and Questionnaire

Subject ID Code: ______

1. What experience, if any, have you had with fiddling in the past? Check all that apply.

 No previous fiddling experience  Two or fewer workshop experiences/lessons in:

 Scottish  Bluegrass  Cape Breton  Cajun  Irish  Other: ______

 Three or more workshop experiences/lessons in:

 Scottish  Bluegrass  Cape Breton  Cajun  Irish  Other: ______

2. Regardless of your personal experience(s) with fiddling, do you currently work on any fiddling with your violin students?

 No, I do not work on any fiddling with my violin students.  Yes, I work on the following fiddling style(s) with violin students that request it. Please check all that apply.

 Scottish  Bluegrass  Cape Breton  Cajun  Irish  Other: ______

 Yes, I work on the following fiddling style(s) with all of my violin students.

 Scottish  Bluegrass  Cape Breton  Cajun  Irish  Other: ______

3. How long have you played the violin?

 10 or fewer years  31-40 years  11-20 years  41-50 years  21-30 years  More than 50 years

(Please continue onto the next page. ) 181 4. What level best describes your violin training background? Check all that apply.

 Bachelor of Arts degree in Music  Bachelor of Music degree in Violin Performance  Bachelor of Science/Music degree in Music Education  Artist Diploma in Violin Performance  Master of Music degree in Violin Performance  Master of Arts degree in Music Education  Doctor of Musical Arts degree in Violin Performance  Doctor of Philosophy degree in Music Education  Other: ______

Please evaluate what you currently believe or understand about following statements and circle the number that most closely reflects your opinion.

Strongly Strongly Disagree Disagree Don’t Know Agree Agree

1. Fiddling is important to teach to any violin -2 -1 0 1 2 player.

2. All violinists should be able to play in more than -2 -1 0 1 2 one genre (ex. Classical, jazz).

3. The skills gained in Scottish fiddling are -2 -1 0 1 2 important techniques for use in classical violin music.

4. I can identify the unique stylistic features of -2 -1 0 1 2 Scottish fiddling as distinct from other forms of fiddling by ear.

5. I am comfortable generating my own -2 -1 0 1 2 ornamentation within the constraints of a style (ex. Baroque).

6. I am comfortable improvising. -2 -1 0 1 2

7. Scottish fiddling as a musical genre is valuable to -2 -1 0 1 2 study even for a violinist who does not have Scottish heritage.

8. I would like to incorporate Scottish fiddling into -2 -1 0 1 2 my teaching.

182 A Manual for the Learning of Traditional Scottish Fiddling: Design, Development, and Effectiveness

Completion of Study Questionnaire

Subject ID Code: ______

Please evaluate what you currently believe or understand about following statements and circle the number that most closely reflects your opinion.

Strongly Strongly Disagree Disagree Don’t Know Agree Agree

1. Fiddling is important to teach to any violin -2 -1 0 1 2 player.

2. All violinists should be able to play in more than -2 -1 0 1 2 one genre (ex. Classical, jazz).

3. The skills gained in Scottish fiddling are -2 -1 0 1 2 important techniques for use in classical violin music.

4. I can identify the unique stylistic features of -2 -1 0 1 2 Scottish fiddling as distinct from other forms of fiddling by ear.

5. I am comfortable improvising. -2 -1 0 1 2

6. Scottish fiddling as a musical genre is valuable to -2 -1 0 1 2 study even for a violinist who does not have Scottish heritage.

7. I would like to incorporate Scottish fiddling into -2 -1 0 1 2 my teaching.

8. I feel that I can successfully add Scottish -2 -1 0 1 2 idiomatic bowings into reels.

9. I understand the differences between a Highland -2 -1 0 1 2 strathspey and a North-East style strathspey.

(Please continue onto the next page. )

183

10. I believe that my classically trained violin -2 -1 0 1 2 background has been an asset to my learning how to play in the Scottish style.

11. I feel confident that I can interpret most un- -2 -1 0 1 2 edited Scottish fiddle tunes correctly.

12. I feel that I can successfully add Scottish -2 -1 0 1 2 idiomatic bowings into strathspeys.

13. I feel that I can successfully add Scottish -2 -1 0 1 2 idiomatic ornaments into airs.

14. I believe that I can accurately demonstrate a -2 -1 0 1 2 birl.

15. I feel that I can accurately demonstrate a tap -2 -1 0 1 2 ornament.

16. I would like to continue to play Scottish fiddling -2 -1 0 1 2 music after the completion of this study.

184

Appendix D: Pretest and Posttest Questionnaire Data

185 The following table includes all of the data generated by the subjects when they completed the pretest and posttest questionnaires. Under the heading labeled “subject,”

ST refers to school teachers, and TP refers to traditional private teachers.

Subject Statement ST1 ST2 ST3 ST4 ST5 TP1 TP2 TP3 TP4 TP5 PRE 1 1 2 1 1 1 1 1 1 1 1 PRE 2 2 2 2 2 2 2 2 1 2 1 PRE 3 0 2 1 2 0 1 0 0 0 1 PRE 4 0 -2 0 -2 -2 -2 0 -1 -1 0 PRE 5 1 -2 0 1 1 1 2 -1 2 1 PRE 6 1 -1 1 1 1 1 -2 -1 1 2 PRE 7 1 2 1 1 0 2 0 1 2 2 PRE 8 1 2 1 2 0 2 0 1 1 2 POST 1 1 2 1 1 1 1 1 1 1 1 POST 2 2 2 2 1 2 2 2 1 2 1 POST 3 1 2 2 2 -1 1 2 1 1 1 POST 4 2 1 2 1 1 2 2 1 1 1 POST 5 1 -1 1 1 1 -1 -2 -1 1 2 POST 6 2 2 2 1 1 2 2 2 2 2 POST 7 2 2 2 1 0 1 2 0 1 1 POST 8 1 1 2 1 1 -1 1 -1 -1 1 POST 9 1 -1 1 0 -1 1 0 -1 0 0 POST 10 2 0 2 2 2 1 2 1 2 2 POST 11 0 0 1 1 1 -1 1 -1 1 1 POST 12 0 -1 1 1 1 -1 1 0 -1 1 POST 13 1 -1 1 1 1 1 1 0 2 2 POST 14 1 0 1 1 1 1 1 1 2 1 POST 15 2 1 1 1 1 2 2 1 1 2 POST 16 2 2 2 2 1 2 2 1 2 2

186

Appendix E: Music from Outside of the Manual Used in the Pretests and Posttests

187 Rowing from Isla to trad.

Small is My Inclination to Sleep trad.

The Fairy Hillock Charles Grant

188

The Atholl Highlanders trad.

Sailor’s Wife trad.

189

Loch Ordie James Mackintosh

Lord MacDonald trad.

190 Ciorsdan Mhór trad.

Ca’ the Wethers to the Hill Gow?

The Birks of Invermay trad.

191

Bonnie Jean of Aberdeen trad.

Lady Catherine Pelham R. Mackintosh

192

The Laird o’ Drumblair J. Scott Skinner

The Iron Man J. Scott Skinner

193

Appendix F: Sample Practice Log Page

194 CODE: ______

Date:______

Approximate Time Spent on the Manual During this Session: ______

Comments:______

195

Appendix G: Practice Log Data

196 The following table includes all of data generated by the subjects when they completed their practice logs. It is organized by minutes spent per practice session as defined by the subjects. Under the heading labeled “subject,” ST refers to school teachers, and TP refers to traditional private teachers.

Subjects

Practice Session ST1 ST2 ST3 ST4 ST5 TP1 TP2 TP3 TP4 TP5 1 20 35 30 30 10 10 20 30 20 2 30 20 20 120 25 15 25 15 27 3 30 35 30 120 30 60 22 15 25 4 25 25 120 90 30 15 30 20 5 35 15 90 60 5 20 30 30 6 35 45 30 45 18 20 40 7 20 75 20 20 20 8 30 30 20 30 9 35 40 30 30 10 25 30 25 11 20 40 20 12 40 30 20 13 20 60 60 14 30 60

197

Appendix H: Subjects’ Comments from Practice Logs

198 Note: ST refers to school teachers, and TP refers to traditional private teachers.

ST1

1. The manual is laid out well. 2. The DVD is very helpful. 3. I also like the history and timeline in the manual. 4. I like the assignments and the “answer” key. 5. The recording sounds a bit shrill.

ST2

1. I was eager to get started with the manual to learn what makes Scottish Fiddling unique. The opening section was interesting and well-written. In my classroom, I would read page 2 and review page 3 with my students. The timeline provides wonderful information relating music history to world history. These pages satisfy National Music Education standards. 2. I began playing the Left-Hand Ornaments. Again, the information was interesting and direct. The written music needs the DVD so that the player can see and. More importantly, hear the desired style. 3. Thank you for beginning with slow pieces. It put me at ease. I also like the exercises to check for understanding. 4. Today I tackled pull-offs. Much easier to determine the pitch of the pull-off. I placed both correctly on the quiz! Again, I like the short check at the end of the lesson. 5. The tap was my focus today. This was really fun and very difficult at the same time. I am struggling to keep the pitch out of the tap. Maybe I’m hitting the string too hard. My pinky 4 th finger works best. This one will take some time to get right. 6. Today I looked at musical phrasing. I was happy with my quiz results. I feel like I’m starting to understand the style of Scottish fiddling. 7. The explanations of jig rhythms on p. 20 were very clear and easy to follow. I was hesitant to add ornaments to Drummond Castle but over-compensated by adding too many slurs to Mr. Charles Graham’s Welcome Home. 8. I’m having fun, and my playing sounds a lot less stiff than when I started. 9. I love the sound of the combination taps. I spent a lot of time just listening to the DVD and watching [the researcher’s] fingers. I then tried to duplicate the sound. This will take time, but it’s getting closer every time I try. 10. I love the jig! Boy did I blow it on the pre-test, though. I played the [three eighth notes] as three even eighths rather than using a light swing. Now I sound more authentic. 11. * still using a “play along” method 12. I did better on this assessment even though I over-did the slurs. 13. Loved the reel as much as the jig. Again, I did not use any swing on the pre-test.

199 14. I am not up to speed with either dance style. I hope it’s alright if I play at a slower tempo so that I can follow the bowings and use the ornamentation. 15. The birl is fun but I really have to be mindful of my bowings to make it work. 16. I received the music and list of manual pieces from [the researcher]. I feel comfortable with the first 4 manual pieces listed. 17. I listened to each piece then played along as well as I could. The tempo is still a challenge for me. 18. I gave the march particular attention. I think I have the spirit of the piece even if I miss some ornamentation and play it slowly. 19. I know the idea is to add bowings and ornamentation to the pieces, but I feel pretty lost. I’ve never been good at creating. I do much better with an example. Something will come to me. 20. I tried more of the manual assignments. The strathspey seems ok. I feel ok about 3 of the other pieces. I don’t get the triplet rhythm, and unfortunately, I won’t have time to work it out. 21. My Final Thoughts: 1. The manual is easy to follow. 2. I enjoy the historical information. The rhythm practice such as on p. 22 was very helpful in feeling the style of the piece. 3. The many assessments are essential to checking for understanding before moving on. 4. The DVD is very good, and for me, it is invaluable to the study of the music. 5. A few “practice tracks” would be helpful. Slowing the tempo of each style to allow the student to play along. 6. The Answer Section is great.

ST3

1. Briefly played the first few pages. I watched a part of the DVD. 2. Began to grasp the many different ornaments and listened to them on the DVD. 3. I am beginning to hear the style as I play now. 4. There are so many different sounds to keep straight. This is a very complicated style! 5. This was a busy week but I still got to work on the “snap.” 6. I tried to review all of the ornaments and bowing techniques. I am a bit confused about the swing and even rhythms and even rhythms and when to use them.

ST4

1. The use of vibrato will be challenging to get used to. I think that using less vibrato is a good tool to help students learn to shape phrases. 2. I have trouble making the tap and combination taps sound percussive and like a bagpipe. I keep producing a pitiful sound. 3. I think that I’m starting to get the hang of the taps. 4. I think that studying this music would be beneficial for students that need to learn to narrow their vibrato and play with a lighter left hand. 5. I find the jig rhythm a little difficult. I tried to play with a metronome. I couldn’t stay with it unless I played [dotted-eighth-sixteenth-eighth] exactly.

200 6. Once again to slightly swing rhythm in the reel is tricky. I programmed my metronome to play it the way you notated it. That helped. 7. It’s like learning a new language. The DVD is helpful.

ST5

1. Hammer-ons/taps piss me off. I can’t get them to be non-pitched. I’m going to take a break and come back to it. 2. I am jealous of your taps. But I think I get it now – the tap finger has to be flat- like-a-board as if it were playing a harmonic. 3. I like reels. 4. Worked through the rest of the manual and worked on the songs that I will be tested on. 5. Wrote in ornaments while watching TV. I’ll try them out tomorrow morning. 6. Practicing for the test!

TP1

1. Leafed through the first few pages. 2. Played pages 6-8 2x 3. Reviewed page 6-8 4. Read through most of the manual while driving to Florida. 5. Played through exercises and song ph 9-13 6. Read through 14 + 15 (no violin) 7. Worked through Campbell’s Farewell to Redcastle. Tried to get DC to work on computer – no luck. Played page 17 w/o ornaments and with. Had difficulty w/ 3rd finger tap. 8. Worked on turns – found I could execute by themselves but had a hard time incorporating them in songs. 9. Used DVD for the first – had to use on the TV. Saw that I was doing some things wrong – went back to pg 6-8. Worked through songs again. 10. Worked through pages 20-29 w/ DVD. Feel awkward. 11. Worked on the birl – can’t get it fast. 12. Went back to pg 16-19. Review. Wish some of the DVD tempos were slower or the skills shown in slow motion. 13. pg 29-38 w/o DVD and with easily confused on multiple skills. 14. Went through answer section with DVD. Can’t catch everything with tempo.

TP2

1. Being unfamiliar with the tunes, metronome markings would be helpful. 2. Helpful if answers were on the following page.

201 TP3

1. I read over the history of the traditions of Scottish fiddling. This is a fascinating evolution. I also looked at the first couple of pages of exercises. The hammer- ons look fun yet challenging. I think that hardest thing will be knowing when and what to add! 2. Worked today on the hammer-ons and pull-offs. The DVD examples are very helpful. 3. Taps! Taps are fun to play in the exercises on p. 9. When I got to p. 10, though, I felt a little overwhelmed by all the combinations that can happen. Again, the DVD is helpful. I still am thinking about how I will know what techniques to employ when I begin to improvise. This is somewhat overwhelming to me. 4. The information concerning the phrasing of airs and marches is helpful. I also had an “a-ha” moment when I read the information on p. 16 concerning the G natural. 5. Working through the marches today. The ornaments are the biggest challenge. I think when I try to read this music with all of the ornaments, I start paying more attention to the ornaments and begin to lose the essence of the march. 6. For those of us who are at times rhythmically challenged, p. 22 was very challenging. It helped to keep in mind the idea of swing. I fear that I will end up doing all of the rhythms in a sort of swing! 7. p. 24-25 “BAAH” bowings. I felt better about the improvisation issue once I worked through p. 25. Having the two examples of the same song was excellent. Also having the answer keys has been helpful. 8. Worked on the birl today. This is a fun technique. 9. Went back and reviewed things today. Seems to be making more sense. The hammer-ons are a challenge. I don’t know if I will be very good at adding these consistently! 10. Oh my gosh! Strathspeys are difficult! This is a lot to look at and think about. The mnemonics “Extra” and “Drummond’ help a lot in figuring out these rhythms. 11. p. 34-35 (sixteenth notes) are really difficult. Brisk Bob and Captain Campbell are the hardest songs I’ve tried so far. These strathspeys are still very challenging! The DVD helps but I feel like I need to almost memorize the example from the DVD. Just playing it is really difficult for me. 12. Triplet runs today! These make more sense than the previous two pages. 13. I have spent much of this time going over the pieces [the researcher] has indicated will be recorded for the posttest. I have been going back and reviewing the various techniques. Hammer-ons and turns are difficult still. The DVD continues to be helpful as I prepare for the posttest. 14. Still working on songs for the posttest. I am hoping that I am playing the songs that were sight-read in the proper style.

202 TP4

1. Taps – lots of probs. Doesn’t sounds great, not sure if I’m doing them right?

TP5

1. I read pgs. 1-5 and part of Appendix A. I look forward to less vibrato and more open strings. 2. I would love to hear a 20 min. pee-bruch and would most definitely love to hear the CDs in the listening [section]. Have you thought of releasing a companion CD compilation with tracks from these disks? 3. pg. 6 covered. I wonder if hammer-ons from above ever occur, and or if they are considered another ornament… 4. Look forward to learning the tap. 5. I find it difficult to “fit in” all the written ornaments. I’m sure adding them ad lib, perhaps to a memorized march, is a more free experience. I also wonder how much melodic freedom is tolerated in performance of the marches. 6. Some difficulties w/ jigs… 7. I really enjoyed the exercises that were used throughout the manual.

203

Appendix I: Sample Video Evaluation Form

204

s s

he he

uthentically uthentically ) is fullyis )

birls ( .) .) Scottish style of this of this style Scottish (Birls are written into are(Birls written

are fully consistent with the the with fullyconsistent are

is fully consistent with the with the Scottish fullyconsistent is bowings ornaments ornaments is fully consistent with the Scottish style ofthi thestyle Scottish with consistent fully is

tempo that the subject chose to execute (as opposed to t opposed (as to execute subject the chose that

in a an performing is this subject that , believe I rhythms EVALUATOR: ______EVALUATOR: SUBJECT SUBJECT ______CODE:

The

Overall Scottish style. Scottish style. consistent with the authentic Scottish style. style. withScottish the authentic consistent to interpretation subject notare and music the subject’s The 3. tune type. type. tune 4. 2. The subject’s execution of right-hand ornaments ornaments executionof right-hand subject’s The 2. authentic Scottish style of ornamentation. of ornamentation. style Scottish authentic Arran BoatSong The left-hand subject’s The 1. written rhythms) are fully consistent with the with the fullyconsistent are rhythms) written type. tune 5. The subject’s choice of choice subject’s The 5. type. tune of this style 6.

205

Appendix J: Video Evaluation Data

206

The following table includes all of the data generated by the Scottish fiddling experts during their assessment of the subjects’ performances on the tunes from outside of the manual and on the tunes from within the manual. Under the heading labeled

“subject,” ST refers to school teachers, and TP refers to traditional private teachers. The tunes from outside of the manual are labeled “outside.” The tunes from within the manual are labeled “manual.” The names of the tunes are abbreviated. The full names of the tunes from outside of the manual are found in Appendix E. The full names of the tunes from within the manual are found on page 61.

Tune Pretest Statements Posttest Statements Subject Location Tune TuneName Judge 1 2 3 4 5 6 1 2 3 4 5 6 ST1 Outside 1 Rowing A 1 2 2 2 1 4 4 4 4 4 B 1 2 2 1 1 4 3 3 4 4 C 1 1 1 1 1 5 4 4 3 4 2 Small A 1 1 1 1 1 5 4 5 4 5 B 1 1 1 1 1 4 4 4 3 4 C 1 1 1 1 1 5 4 5 5 5 3 Fairy A 2 2 2 2 2 4 4 4 4 4 B 1 2 2 2 1 4 4 4 3 4 C 1 3 1 1 1 4 5 5 5 5 4 Atholl A 1 3 1 1 4 3 3 4 4 B 2 4 4 3 3 4 4 4 4 4 C 1 3 2 2 1 4 5 5 5 5 5 Sailor's A 1 1 1 1 1 5 4 4 4 4 B 1 1 1 1 1 4 4 4 4 4 C 1 3 1 1 1 4 4 5 5 5 6 Loch A 1 1 1 1 1 5 5 4 4 5 B 1 1 1 1 1 4 4 4 4 4 C 1 1 1 1 1 4 5 5 5 5 7 Lord A 1 1 1 1 1 4 4 3 4 B 1 2 2 1 1 4 4 4 4 4 C 1 1 1 1 1 5 4 5 5 5 8 Ciorsdan A 1 1 1 1 1 1 4 4 4 4 4 4 B 2 3 2 2 2 2 4 4 4 4 4 4 C 1 1 1 1 1 1 4 5 4 4 3 4 9 Ca the W A 1 2 1 1 1 1 5 5 4 5 4 5 B 1 1 1 1 2 2 4 4 4 4 4 4

207 C 1 1 3 1 1 1 5 5 4 5 5 5 10 Birks A 1 2 1 1 1 5 4 5 4 5 B 3 3 2 2 2 4 4 4 4 4 C 1 1 1 1 1 4 5 5 5 5 11 Bonnie J A 1 1 2 1 1 5 5 5 5 5 B 2 2 2 3 2 4 4 4 4 4 C 1 1 1 1 1 4 5 5 5 5 12 Lady Cath. A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 2 1 4 4 3 3 3 C 1 1 1 1 1 4 3 4 2 3 13 Laird o D A 1 1 1 1 1 5 4 4 4 4 B 2 3 3 2 2 4 4 4 4 4 C 1 1 1 1 1 4 4 5 4 4 14 Iron Man A 1 1 1 1 1 5 4 5 4 4 B 2 3 3 3 2 4 4 4 3 4 C 1 3 1 1 1 5 4 5 5 5 Manual 1 Arran A 5 5 5 5 5 B 4 4 4 4 4 C 5 5 5 4 5 Skinner's 2 C A 4 4 4 4 4 B 4 4 4 4 4 C 4 4 4 4 4 Chs. 3 Grahm A 4 4 4 4 4 B 3 4 4 3 4 C 4 5 5 4 4 4 Clach na C A 4 4 4 4 4 B 4 4 4 4 4 C 4 2 2 4 3 5 Pipe Slang A 4 4 3 4 4 4 B 4 4 5 5 4 4 C 5 5 5 5 4 5 6 Alasdair A 5 4 4 4 5 B 3 4 4 4 4 C 4 4 5 4 4 Hallow 7 E'en A 5 4 4 4 5 B 4 4 3 4 4 C 4 5 5 5 5 Cpt. 8 Campb A 5 4 4 3 4 B 4 4 4 4 4 C 4 2 4 3 3 9 Fisher's R A 4 3 3 3 3 B 3 3 4 3 3 C 4 2 4 5 4 10 Kirrie Keb A 4 4 4 4 4 B 4 4 4 4 4 C 4 2 4 3 3 208 ST2 Outside 1 Rowing A 1 1 1 1 1 3 3 3 3 3 B 1 1 1 1 1 2 2 2 2 2 C 1 1 1 1 1 3 4 3 3 3 2 Small A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 2 2 2 2 2 2 2 C 1 1 1 1 1 3 4 4 3 3 3 Fairy A 1 1 1 1 1 4 3 4 3 4 B 1 1 1 1 1 2 2 2 2 2 C 1 1 1 1 1 3 3 3 3 3 4 Atholl A 1 1 1 1 1 3 4 3 4 4 B 1 2 2 2 2 2 2 2 2 2 C 1 1 1 1 1 3 4 4 3 3 5 Sailor's A 1 1 1 1 1 4 4 4 4 4 B 1 1 1 1 1 2 2 2 2 2 C 1 1 1 1 1 3 4 4 3 4 6 Loch A 1 1 1 1 1 4 4 4 4 4 B 2 1 1 2 1 2 3 3 2 2 C 1 1 1 1 1 3 3 3 3 3 7 Lord A 1 1 1 1 1 3 4 3 4 4 B 2 1 1 1 1 2 2 2 2 2 C 1 1 1 1 1 3 3 3 3 3 8 Ciorsdan A 1 1 1 1 1 1 4 4 4 4 4 4 B 1 2 2 2 2 2 2 3 3 2 2 2 C 1 2 1 1 1 1 3 5 3 3 3 3 9 Ca the W A 1 1 1 1 1 1 4 4 4 4 4 4 B 2 2 2 2 2 2 3 3 3 2 3 2 C 1 1 1 1 1 1 3 3 4 4 4 4 10 Birks A 1 1 1 1 1 3 3 3 3 B 2 2 3 3 2 2 3 3 4 3 C 1 1 1 1 1 3 4 4 3 4 11 Bonnie J A 1 1 1 1 1 3 4 4 3 3 B 2 2 2 2 2 3 3 2 2 2 C 1 1 1 1 1 3 4 4 3 4 12 Lady Cath. A 1 1 1 1 1 3 4 4 3 3 B 2 2 2 2 2 3 3 3 3 2 C 1 1 1 1 1 3 4 3 3 3 13 Laird o D A 1 1 1 1 1 4 3 4 3 4 B 2 2 2 2 2 3 3 2 2 2 C 1 1 1 1 1 3 3 2 3 3 14 Iron Man A 1 1 1 1 1 3 4 4 3 3 B 2 2 1 1 1 2 2 3 2 2 C 1 1 1 1 1 3 4 4 4 3 Manual 1 Arran A 4 4 4 4 4 B 3 4 4 4 4 C 3 4 4 4 4 Skinner's 2 C A 3 3 4 3 3 B 3 2 2 2 2 C 3 4 3 3 3

209 Chs. 3 Grahm A 4 3 3 3 3 B 3 3 3 3 3 C 3 3 4 3 3 4 Clach na C A B No Data C 5 Pipe Slang A 4 4 4 4 4 4 B 3 4 3 3 3 3 C 3 4 3 4 3 4 6 Alasdair A 4 4 4 4 4 B 3 4 3 3 3 C 3 3 4 3 4 Hallow 7 E'en A 4 4 4 4 4 B 3 4 2 3 3 C 3 4 3 3 4 Cpt. 8 Campb A 4 4 4 4 4 B 3 4 3 3 2 C 3 4 4 3 3 9 Fisher's R A 3 3 3 3 3 B 3 3 3 2 3 C 3 3 3 3 3 10 Kirrie Keb A 3 3 3 3 3 B 3 3 2 2 2 C 3 4 3 3 3 ST3 Outside 1 Rowing A 1 1 1 1 1 5 5 5 5 5 B 1 2 1 2 1 4 4 3 4 4 C 1 1 1 1 1 3 4 5 4 4 2 Small A 1 1 1 1 1 5 4 5 5 5 B 2 2 2 2 2 4 4 4 4 4 C 1 1 1 1 1 3 3 4 4 4 3 Fairy A 1 1 1 1 1 5 5 5 5 5 B 2 2 2 2 2 3 4 4 3 4 C 1 1 1 1 1 3 5 5 4 4 4 Atholl A 1 1 1 1 1 4 4 4 4 4 B 2 3 3 3 3 3 4 4 3 4 C 1 1 1 1 1 3 3 4 5 4 5 Sailor's A 1 1 1 1 1 4 3 4 4 4 B 2 2 2 2 2 4 4 3 4 4 C 1 1 1 1 1 3 5 5 5 4 6 Loch A 1 1 1 1 1 4 4 4 4 4 B 2 3 2 3 2 3 4 4 4 4 C 1 1 1 1 1 3 4 3 4 4 7 Lord A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 2 2 3 4 4 4 4 C 1 1 1 1 1 3 4 4 5 4 8 Ciorsdan A 1 1 1 1 1 1 4 3 4 4 4 4 B 2 3 3 2 2 2 3 4 4 4 3 4 210 C 1 2 1 1 1 1 3 3 4 5 4 4 9 Ca the W A 1 1 1 1 1 1 4 4 4 4 4 4 B 2 3 3 2 2 2 3 4 4 4 3 4 C 1 1 1 1 1 1 3 4 5 5 5 4 10 Birks A 1 1 1 1 1 5 5 5 4 5 B 3 2 2 2 2 3 4 4 3 4 C 1 3 3 3 1 4 5 5 5 5 11 Bonnie J A 1 1 1 1 1 5 5 5 4 4 B 2 2 3 2 2 3 3 3 4 4 C 1 3 3 1 1 3 4 5 3 4 12 Lady Cath. A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 2 2 3 3 4 4 4 C 1 1 1 1 1 3 4 4 3 4 13 Laird o D A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 2 2 3 4 3 4 4 C 1 1 1 1 1 3 4 4 3 4 14 Iron Man A 1 1 1 1 1 4 4 4 4 4 B 3 3 2 2 2 3 4 4 4 4 C 1 3 2 3 1 3 5 5 3 4 Manual 1 Arran A 5 5 5 5 5 B 4 4 4 4 4 C 4 5 5 4 5 Skinner's 2 C A 4 3 4 4 4 B 3 4 4 3 4 C 4 4 5 4 4 Chs. 3 Grahm A 4 4 4 4 4 B 3 4 4 3 4 C 3 4 3 3 3 4 Clach na C A 4 4 4 4 4 B 3 3 4 3 4 C 4 3 3 4 3 5 Pipe Slang A 4 3 4 4 4 4 B 3 4 4 4 3 4 C 4 3 3 4 4 4 6 Alasdair A 4 4 4 4 4 B 3 4 4 4 4 C 5 5 4 4 4 Hallow 7 E'en A 4 4 4 4 4 B 3 4 4 4 4 C 5 5 5 5 5 Cpt. 8 Campb A 4 4 4 4 4 B 4 4 4 4 4 C 4 5 4 4 4 9 Fisher's R A 4 3 3 3 4 B 3 4 3 4 4 C 4 4 5 4 4 211 10 Kirrie Keb A 4 3 4 4 4 B 3 4 4 3 4 C 4 4 4 4 4 ST4 Outside 1 Rowing A 1 1 1 1 1 5 5 5 5 5 B 2 2 3 2 2 3 4 4 4 4 C 1 1 1 1 1 4 5 5 5 4 2 Small A 1 1 1 1 1 5 5 5 5 5 B 3 3 3 3 3 4 4 4 4 4 C 1 3 1 1 1 5 5 5 5 5 3 Fairy A 1 1 1 1 1 5 5 5 5 5 B 3 3 3 3 3 4 4 4 4 4 C 1 1 1 1 1 5 4 5 5 5 4 Atholl A 1 1 1 1 1 5 5 5 5 5 B 3 2 2 2 2 4 4 4 4 4 C 1 1 1 1 1 5 4 5 5 4 5 Sailor's A 1 1 1 1 1 5 5 5 5 5 B 2 2 2 2 2 3 4 4 4 4 C 1 1 1 1 1 5 4 5 5 5 6 Loch A 1 1 1 1 1 5 5 4 5 5 B 3 2 2 2 2 3 3 3 3 3 C 1 1 1 1 1 4 4 3 4 3 7 Lord A 1 1 1 1 1 5 5 3 5 4 B 3 2 2 3 2 3 3 2 3 2 C 1 1 1 1 1 4 4 3 3 3 8 Ciorsdan A 1 1 1 1 1 1 5 5 5 5 5 5 B 3 2 2 2 2 2 3 3 3 3 3 3 C 1 2 1 1 1 1 5 3 4 3 4 3 9 Ca the W A 1 1 1 1 1 1 5 5 5 5 5 5 B 3 2 2 2 2 2 3 3 4 4 3 3 C 1 2 1 1 1 1 5 3 4 4 5 4 10 Birks A 1 1 1 1 1 4 5 5 5 5 B 3 2 3 3 2 4 4 4 4 4 C 1 1 1 1 1 4 4 4 4 4 11 Bonnie J A 1 1 1 1 1 4 4 4 4 5 B 3 2 2 2 2 3 3 3 3 3 C 1 3 3 1 1 5 5 5 5 5 12 Lady Cath. A 1 1 1 1 1 4 4 4 4 4 B 3 2 3 3 2 4 4 4 3 4 C 1 1 1 1 1 4 5 4 4 4 13 Laird o D A 1 1 1 1 1 4 3 4 4 4 B 3 3 3 3 3 3 3 3 4 3 C 1 3 1 1 1 4 3 4 4 4 14 Iron Man A 1 1 1 1 1 4 4 4 4 4 B 3 3 3 3 3 3 4 4 4 4 C 1 5 3 1 1 5 4 5 3 4 Manual 1 Arran A 5 5 5 5 5 B 4 4 4 4 4 C 5 5 5 5 5 2 Skinner's A 4 4 4 4 4 212 C B 4 4 4 4 4 C 4 5 4 4 4 Chs. 3 Grahm A 4 4 4 4 4 B 3 4 4 4 4 C 5 5 5 5 5 4 Clach na C A 4 4 4 4 4 B 4 4 4 4 4 C 5 5 4 4 4 5 Pipe Slang A 5 5 5 5 5 5 B 4 4 4 4 4 4 C 5 5 5 4 4 4 6 Alasdair A 5 5 5 5 5 B 4 5 5 4 4 C 5 4 5 5 5 Hallow 7 E'en A 5 5 5 5 5 B 3 4 3 4 4 C 5 5 5 5 5 Cpt. 8 Campb A 5 5 5 5 5 B 3 4 4 4 4 C 5 5 5 5 5 9 Fisher's R A 5 5 5 5 5 B 4 4 4 3 4 C 5 4 5 5 5 10 Kirrie Keb A 5 5 5 5 5 B 3 4 4 4 4 C 5 4 5 5 5 ST5 Outside 1 Rowing A 1 1 1 1 1 5 5 5 5 5 B 2 2 2 2 2 4 4 4 4 4 C 1 1 1 1 1 4 5 4 4 4 2 Small A 1 1 1 1 1 5 5 5 5 5 B 3 3 3 3 3 3 4 4 3 4 C 1 1 1 1 1 5 5 5 5 5 3 Fairy A 1 1 1 1 1 5 5 5 5 5 B 2 2 2 2 2 3 4 4 3 4 C 1 1 1 1 1 4 5 5 4 4 4 Atholl A 1 1 1 1 1 5 5 5 5 5 B 3 2 3 2 2 4 4 4 4 4 C 1 1 1 1 1 5 4 4 5 5 5 Sailor's A 1 1 1 1 1 5 5 5 5 5 B 3 2 2 2 2 4 4 4 4 4 C 1 1 1 1 1 4 5 5 5 5 6 Loch A 1 1 1 1 1 5 5 5 5 5 B 2 2 2 2 2 4 4 4 4 5 C 1 1 1 1 1 4 5 5 4 4 7 Lord A 1 1 1 1 1 5 5 4 5 5 B 2 2 2 2 2 3 2 3 3 3 213 C 1 1 1 1 1 4 5 4 4 4 8 Ciorsdan A 1 1 1 1 1 1 5 5 5 5 5 5 B 3 3 3 3 3 3 3 5 4 4 4 4 C 1 3 1 1 1 1 3 4 5 5 5 4 9 Ca the W A 1 1 1 1 1 1 5 5 5 5 5 5 B 3 2 2 2 3 2 3 4 4 4 4 4 C 1 3 3 3 1 1 4 4 5 5 5 5 10 Birks A 1 1 1 1 1 5 5 5 5 5 B 3 2 3 3 2 3 4 4 4 4 C 1 1 1 1 1 3 5 5 5 4 11 Bonnie J A 1 1 1 1 1 5 5 5 5 5 B 3 3 3 3 3 4 4 5 4 4 C 1 1 1 1 1 3 5 4 3 4 12 Lady Cath. A 1 1 1 1 1 5 5 5 5 5 B 3 3 3 3 3 4 4 4 4 4 C 1 1 1 1 1 3 5 5 4 4 13 Laird o D A 1 1 1 1 1 5 5 4 5 5 B 3 3 3 3 3 3 4 4 4 4 C 1 3 1 1 1 3 4 4 4 4 14 Iron Man A 1 1 1 1 1 5 5 5 5 5 B 3 3 3 3 3 3 4 4 4 4 C 1 3 1 1 1 4 5 5 5 5 Manual 1 Arran A 5 5 5 5 5 B 4 5 5 5 5 C 5 5 5 5 5 Skinner's 2 C A 5 5 5 5 5 B 4 4 5 5 5 C 4 5 4 4 5 Chs. 3 Grahm A 5 5 4 5 5 B 4 4 4 4 4 C 3 4 4 4 4 4 Clach na C A 5 5 4 5 5 B 3 3 3 4 4 C 4 5 4 4 4 5 Pipe Slang A 5 5 5 5 5 5 B 3 4 4 4 4 4 C 5 5 5 4 4 4 6 Alasdair A 5 5 5 5 5 B 4 5 5 4 5 C 4 5 5 4 4 Hallow 7 E'en A 5 5 5 5 5 B 4 4 5 4 4 C 5 5 5 5 5 Cpt. 8 Campb A 5 5 5 5 5 B 4 4 4 4 4 C 5 4 5 4 5 214 9 Fisher's R A 5 5 5 5 5 B 4 4 4 4 4 C 5 4 5 5 5 10 Kirrie Keb A 5 5 5 5 5 B 4 4 4 4 4 C 5 5 5 5 5 TP1 Outside 1 Rowing A 1 1 1 1 1 5 5 5 5 5 B 1 3 3 2 2 4 4 4 3 4 C 1 2 1 1 1 4 2 5 4 4 2 Small A 1 1 1 1 1 5 5 5 5 5 B 1 2 2 2 2 4 4 4 4 4 C 1 1 1 1 1 5 5 5 5 5 3 Fairy A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 1 2 3 4 4 3 4 C 1 1 1 1 1 4 5 5 5 5 4 Atholl A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 2 2 4 4 4 4 4 C 1 1 1 1 1 4 5 5 5 5 5 Sailor's A 1 1 1 1 1 4 4 4 4 4 B 1 2 1 1 1 4 4 4 4 4 C 1 1 1 1 1 4 5 4 4 4 6 Loch A 1 1 1 1 1 4 5 4 5 5 B 2 2 1 1 2 4 4 4 3 4 C 1 1 1 1 1 3 4 3 3 3 7 Lord A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 3 2 3 4 4 3 4 C 1 1 1 1 1 3 3 4 4 4 8 Ciorsdan A 1 1 1 1 1 1 3 4 5 5 5 5 B 1 1 1 1 1 1 4 3 4 3 3 4 C 1 1 1 1 1 1 3 4 4 4 4 4 9 Ca the W A 1 1 1 1 1 1 4 4 4 5 4 5 B 2 2 1 2 2 2 3 3 4 4 3 4 C 1 1 1 1 1 1 3 3 3 3 4 3 10 Birks A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 2 2 3 4 4 4 4 C 1 1 1 1 1 4 3 4 4 4 11 Bonnie J A 1 1 1 1 1 5 5 5 5 5 B 3 3 4 4 4 3 4 4 3 4 C 1 3 2 1 1 4 5 5 5 5 12 Lady Cath. A 1 1 1 1 1 4 4 5 4 5 B 2 3 2 3 3 3 4 4 4 4 C 1 1 1 1 1 4 5 5 4 5 13 Laird o D A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 2 2 4 4 4 4 4 C 1 1 1 1 1 4 4 4 4 4 14 Iron Man A 1 1 1 1 1 4 3 3 4 4 B 2 2 2 2 2 3 3 3 4 4 C 1 1 1 1 1 3 3 4 3 3 Manual 1 Arran A 4 4 4 4 4 215 B 3 4 4 3 4 C 5 4 5 5 5 Skinner's 2 C A 4 4 4 4 4 B 4 3 4 3 4 C 5 4 3 4 4 Chs. 3 Grahm A 4 4 4 4 4 B 3 4 3 3 3 C 4 4 3 4 4 4 Clach na C A 4 4 4 4 4 B 3 4 4 3 3 C 5 3 3 4 4 5 Pipe Slang A 4 4 4 4 4 4 B 3 4 4 4 4 4 C 3 5 4 4 4 4 6 Alasdair A 4 4 4 4 4 B 3 3 3 3 3 C 4 3 5 5 4 Hallow 7 E'en A 5 5 5 4 5 B 4 4 4 4 4 C 5 5 5 5 5 Cpt. 8 Campb A 4 3 5 5 5 B 3 3 3 3 3 C 5 3 4 5 4 9 Fisher's R A 4 3 4 4 4 B 3 3 3 3 3 C 5 3 5 5 5 10 Kirrie Keb A 4 3 4 4 4 B 3 3 2 3 3 C 5 3 5 4 5 TP2 Outside 1 Rowing A 1 1 1 1 1 4 5 5 5 5 B 2 3 3 3 3 4 4 4 4 4 C 3 1 1 2 2 4 4 4 4 4 2 Small A 1 1 1 1 1 5 5 5 5 5 B 2 3 3 3 3 3 3 3 3 3 C 2 1 2 1 1 2 1 2 3 3 3 Fairy A 1 1 1 1 1 4 4 4 4 4 B 3 3 3 2 2 3 4 4 3 4 C 3 4 4 2 2 3 2 3 3 3 4 Atholl A 1 1 1 1 1 5 5 5 5 5 B 2 2 2 3 2 4 3 3 3 4 C 1 3 3 2 1 5 3 4 4 4 5 Sailor's A 1 1 1 1 1 4 3 4 4 4 B 2 2 2 2 2 4 4 4 3 4 C 1 1 1 1 1 3 3 4 3 4 6 Loch A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 2 2 3 4 4 3 4 216 C 1 1 1 1 1 3 5 5 5 5 7 Lord A 1 1 1 1 1 5 5 4 4 4 B 2 2 2 3 2 3 3 3 4 3 C 1 1 1 1 1 4 4 4 3 3 8 Ciorsdan A 1 1 1 1 1 1 4 4 3 4 4 4 B 2 3 2 3 3 2 3 3 3 3 3 3 C 1 1 1 1 1 1 3 4 3 3 3 3 9 Ca the W A 1 1 1 1 1 1 5 3 5 5 5 5 B 2 2 2 2 3 2 3 3 4 3 3 3 C 1 2 3 3 1 1 5 2 5 4 4 4 10 Birks A 1 1 1 1 1 4 4 4 4 4 B 3 2 3 2 3 3 4 4 4 4 C 1 3 3 1 1 4 5 5 4 4 11 Bonnie J A 1 1 1 1 1 4 4 4 4 4 B 3 2 3 2 3 3 4 4 3 3 C 1 1 1 1 1 5 5 5 5 5 12 Lady Cath. A 1 1 1 1 1 5 4 4 4 5 B 2 2 3 2 2 3 4 4 3 4 C 1 3 1 1 1 4 4 3 3 3 13 Laird o D A 1 1 1 1 1 4 4 4 4 4 B 3 3 3 3 3 3 4 3 4 4 C 1 3 1 1 1 3 4 3 3 3 14 Iron Man A 1 1 1 1 1 4 5 5 5 5 B 3 3 3 3 3 3 4 4 4 4 C 1 3 2 1 1 4 4 3 3 4 Manual 1 Arran A 5 5 5 5 5 B 3 4 4 3 4 C 5 5 5 4 5 Skinner's 2 C A 4 3 4 4 4 B 3 4 4 3 4 C 5 4 4 4 4 Chs. 3 Grahm A 4 4 4 4 4 B 3 2 2 3 3 C 3 3 3 2 2 4 Clach na C A 4 4 4 4 4 B 3 3 3 3 3 C 5 4 5 5 4 5 Pipe Slang A 4 4 4 4 4 4 B 3 3 4 4 4 4 C 4 5 4 4 5 4 6 Alasdair A 4 4 4 4 4 B 3 4 4 3 3 C 5 5 4 3 4 Hallow 7 E'en A 4 4 4 4 4 B 3 3 3 3 3 C 5 5 4 4 4 8 Cpt. A 4 4 4 4 4 217 Campb B 4 4 4 3 4 C 5 5 4 5 5 9 Fisher's R A 4 4 5 5 5 B 3 3 3 3 3 C 5 4 4 4 4 10 Kirrie Keb A 5 5 5 5 5 B 3 3 3 2 3 C 4 4 4 4 4 TP3 Outside 1 Rowing A 1 1 1 1 1 4 4 4 4 4 B 1 1 1 1 1 3 3 3 3 3 C 1 1 1 1 1 3 3 3 3 3 2 Small A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 2 2 3 4 4 3 4 C 1 1 1 1 1 3 3 3 3 2 3 Fairy A 1 1 1 1 1 4 4 4 4 4 B 2 2 3 2 2 3 4 4 3 4 C 1 1 1 1 1 3 4 3 4 3 4 Atholl A 1 1 1 1 1 4 4 3 4 4 B 2 2 2 2 2 2 2 2 3 2 C 1 1 1 1 1 3 3 3 3 2 5 Sailor's A 1 1 1 1 1 4 2 4 2 4 B 2 2 2 2 2 3 3 2 2 2 C 1 1 1 1 1 3 3 3 3 3 6 Loch A 1 1 1 1 1 4 4 4 4 4 B 3 2 3 2 2 3 4 3 3 3 C 1 1 1 1 1 3 3 3 3 3 7 Lord A 1 1 1 1 1 4 4 4 4 4 B 1 1 1 1 1 3 2 3 2 2 C 1 1 1 1 1 3 3 3 3 3 8 Ciorsdan A 1 1 1 1 1 1 4 4 4 4 4 4 B 2 2 2 2 2 2 3 3 4 3 3 3 C 1 1 1 1 1 1 3 4 3 3 3 3 9 Ca the W A 1 1 1 1 1 1 4 4 3 3 3 3 B 2 2 2 2 2 2 2 3 2 3 2 2 C 1 1 1 1 1 1 3 4 4 4 3 4 10 Birks A 1 1 1 1 1 4 3 3 4 4 B 2 2 2 2 2 4 3 3 3 3 C 1 3 2 1 1 4 3 4 3 3 11 Bonnie J A 1 1 1 1 1 4 4 4 3 4 B 2 2 2 3 2 3 4 3 3 3 C 1 2 1 1 1 3 3 3 3 3 12 Lady Cath. A 1 1 1 1 1 4 3 3 3 3 B 2 2 2 3 2 3 3 2 2 2 C 1 1 1 1 1 3 3 3 3 2 13 Laird o D A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 2 2 3 4 3 2 3 C 1 1 1 1 1 3 4 3 3 3 14 Iron Man A 1 1 1 1 1 4 4 4 4 4 218 B 3 3 2 2 2 3 4 4 4 4 C 1 1 1 1 1 3 5 4 4 4 Manual 1 Arran A 4 4 4 4 4 B 3 3 3 2 3 C 3 3 3 4 3 Skinner's 2 C A 3 3 3 3 3 B 3 2 3 2 2 C 3 3 3 3 3 Chs. 3 Grahm A 4 4 4 4 4 B 3 3 3 3 3 C 3 4 4 3 4 4 Clach na C A 3 3 3 3 3 B 3 2 2 3 2 C 3 2 3 3 3 5 Pipe Slang A 3 4 3 4 3 3 B 3 3 3 2 3 3 C 3 4 3 4 3 3 6 Alasdair A 4 4 4 4 4 B 3 3 3 2 3 C 3 3 4 4 3 Hallow 7 E'en A 4 3 4 4 4 B 3 3 3 2 3 C 3 4 3 3 3 Cpt. 8 Campb A 4 3 4 4 4 B 4 4 3 3 4 C 4 4 4 3 4 9 Fisher's R A 3 3 3 3 3 B 3 2 3 3 2 C 3 3 4 3 2 10 Kirrie Keb A 4 4 4 4 4 B 3 3 2 2 3 C 3 3 3 3 3 TP4 Outside 1 Rowing A 1 1 1 1 1 4 4 4 4 4 B 2 3 3 2 2 4 4 3 4 4 C 1 2 1 1 1 5 5 3 4 4 2 Small A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 2 2 3 4 4 3 4 C 1 1 1 1 1 3 2 3 3 2 3 Fairy A 1 1 1 1 1 4 4 4 4 4 B 3 2 3 2 2 3 4 3 3 4 C 1 3 1 1 1 3 4 4 4 4 4 Atholl A 1 1 1 1 1 4 4 4 4 4 B 3 2 2 3 2 3 4 4 3 4 C 1 3 3 1 2 3 4 4 4 4 5 Sailor's A 1 1 1 1 1 3 3 3 3 3 B 2 2 2 2 2 3 4 4 3 4 219 C 1 3 1 1 1 3 4 4 4 3 6 Loch A 1 1 1 1 1 4 4 3 4 4 B 2 2 2 3 2 3 4 4 3 4 C 1 4 1 1 1 3 4 4 3 4 7 Lord A 1 1 1 1 1 4 3 3 3 4 B 2 2 2 2 2 3 4 4 3 4 C 1 4 3 1 1 3 4 3 3 3 8 Ciorsdan A 1 3 1 1 1 1 4 4 4 4 4 4 B 3 2 3 3 3 2 3 3 3 3 3 3 C 1 3 4 3 1 1 3 3 4 3 3 3 9 Ca the W A 1 1 1 1 1 1 4 4 4 4 4 4 B 3 2 2 2 2 2 3 3 4 4 4 4 C 1 1 4 3 3 3 4 4 5 4 4 4 10 Birks A 1 1 1 1 1 4 4 4 4 4 B 3 3 2 2 2 3 4 4 3 4 C 1 4 3 1 1 3 5 5 4 4 11 Bonnie J A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 2 3 3 4 4 3 4 C 1 1 1 1 1 3 2 3 3 3 12 Lady Cath. A 1 1 1 1 1 4 4 4 4 4 B 3 2 2 2 2 3 4 4 3 4 C 1 3 3 1 1 3 4 5 4 4 13 Laird o D A 1 1 1 1 1 4 4 4 4 4 B 3 3 3 3 3 3 4 3 4 3 C 1 4 3 1 1 3 4 3 3 3 14 Iron Man A 1 1 1 1 1 4 3 4 4 4 B 2 2 3 2 2 3 2 3 3 3 C 1 3 2 1 1 3 3 3 3 3 Manual 1 Arran A 4 4 4 4 4 B 4 4 4 4 4 C 4 4 5 5 5 Skinner's 2 C A 4 4 4 4 4 B 4 4 4 4 4 C 4 3 4 3 3 Chs. 3 Grahm A 4 4 4 4 4 B 3 3 2 3 3 C 3 3 3 3 3 4 Clach na C A 4 4 4 4 4 B 2 2 3 3 2 C 4 3 3 3 3 5 Pipe Slang A 4 4 4 4 4 4 B 3 3 3 3 3 3 C 4 3 4 4 4 4 6 Alasdair A 4 4 4 4 4 B 3 4 4 3 4 C 3 4 5 4 4 Hallow 7 E'en A 4 4 4 4 4 220 B 3 3 3 3 3 C 5 5 5 5 5 Cpt. 8 Campb A 4 3 4 4 4 B 3 3 3 3 3 C 5 3 4 4 4 9 Fisher's R A 4 3 4 3 4 B 2 2 2 3 2 C 4 3 3 3 4 10 Kirrie Keb A 4 4 4 4 4 B 3 4 4 3 4 C 4 4 4 4 4 TP5 Outside 1 Rowing A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 2 2 3 4 4 3 3 C 1 1 1 1 1 4 3 3 3 3 2 Small A 1 1 1 1 1 5 4 4 4 4 B 2 3 3 2 2 4 4 4 4 4 C 1 1 1 1 1 3 4 4 3 3 3 Fairy A 1 2 1 1 1 4 4 4 4 4 B 2 2 2 2 2 3 4 3 3 3 C 1 3 1 1 1 4 4 4 4 4 4 Atholl A 1 1 1 1 1 4 4 3 3 3 B 2 2 2 2 2 4 4 4 4 4 C 1 3 3 1 1 3 4 3 4 3 5 Sailor's A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 2 2 4 4 4 4 4 C 1 1 1 1 1 4 4 5 4 4 6 Loch A 1 1 1 1 1 4 4 4 4 4 B 2 3 3 2 2 4 3 3 4 4 C 1 1 1 1 1 3 3 3 3 3 7 Lord A 1 1 1 1 1 4 4 4 4 4 B 2 3 3 2 2 3 3 3 4 3 C 1 1 1 1 1 3 4 3 3 3 8 Ciorsdan A 1 2 1 1 1 1 4 4 4 4 4 4 B 2 3 2 2 2 2 4 4 4 4 3 4 C 1 3 2 1 1 1 3 3 3 3 3 3 9 Ca the W A 1 1 1 1 1 1 4 3 4 4 4 4 B 1 2 2 2 2 2 4 3 4 4 3 4 C 1 1 1 1 1 1 4 3 2 3 4 4 10 Birks A 1 1 1 1 1 4 4 4 4 4 B 3 3 3 3 2 4 4 4 3 4 C 1 2 1 1 1 4 3 3 4 4 11 Bonnie J A 1 1 1 1 1 4 4 4 4 4 B 2 3 2 2 2 4 4 4 4 4 C 1 1 1 1 1 3 3 4 3 3 12 Lady Cath. A 1 1 1 1 1 4 4 4 4 4 B 2 2 2 2 2 3 4 4 4 4 C 1 1 1 1 1 3 3 4 3 4 13 Laird o D A 1 1 1 1 1 4 4 4 4 4

221 B 2 3 2 2 2 3 4 4 4 4 C 1 1 1 1 1 4 4 4 3 4 14 Iron Man A 1 1 2 2 1 4 4 4 4 4 B 2 3 3 2 2 3 4 4 4 4 C 1 1 1 1 1 3 4 3 4 3 Manual 1 Arran A 4 4 4 4 4 B 4 4 4 4 4 C 4 5 5 4 5 Skinner's 2 C A 4 3 4 4 4 B 3 3 3 4 4 C 4 3 4 4 3 Chs. 3 Grahm A 4 4 4 4 4 B 3 4 4 3 4 C 4 4 5 5 4 4 Clach na C A 4 4 3 4 4 B 4 3 3 3 3 C 4 3 3 3 3 5 Pipe Slang A 4 4 3 4 4 4 B 4 4 4 4 4 4 C 4 4 4 4 4 4 6 Alasdair A 4 3 4 4 4 B 4 4 4 4 4 C 4 4 4 4 4 Hallow 7 E'en A 4 4 4 4 4 B 4 4 4 4 4 C 4 4 4 4 4 Cpt. 8 Campb A 5 5 5 5 5 B 4 4 4 4 4 C 4 4 4 4 4 9 Fisher's R A 4 3 3 3 3 B 4 4 4 4 4 C 4 3 4 3 3 10 Kirrie Keb A 4 3 4 5 4 B 3 4 4 4 4 C 4 4 4 4 4

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