A STRUCTURED APPROACH TO HIGHLAND BAGPIPE TUITION … MOSSAT COLLECTION TUTOR BOOK.pdf · 2017. 5....

A STRUCTURED APPROACH TO HIGHLAND BAGPIPE TUITION

THE MOSSAT COLLECTION TUTOR BOOK.

THE

MOSSAT

COLLECTION

TUTOR BOOK

A STRUCTURED APPROACH TO TUITION

BY Jim McCombie



ACKNOWLEDGEMENTS

I would to thank Mr John Blackburn, Pipe Majors Roger Huth and Roddy Livingston for proof reading, my brother Billy McCombie for his involvement in the production and Brendon Collins of

Collins Crystall, for producing the logo artwork.

The Mossat Collection Tutor Book, compiled and arranged by James Sutherland McCombie © 2014 (1.1)

TUTOR BOOK CONTENTS PAGES LESSONS DIAGRAMS ITEM LIST

06, Why, am I writing this book. Personal experiences. Piper’s basic problems. Full page text.

07, Piper’s basic problems cont’. Notes for the tutor. Full page text.

08, Explanation on slow playing. Notes for the Student. Pros. and Cons. Information. Full page text.

09, Lesson 1 Scales. Grace notes and Movements. Introduction to the Beat. Tempo.

Placing right or bottom hand on the practice chanter. Full page text.

10, Lesson 2. Placing left or top hand on the practice chanter. Bottom hand proceeding up the scale. Full page text.

11, Lesson 3/4. Top hand proceeding up the scale. The Beat. Top hand proceeding down the scale. Full page text.

12, Lesson 5. Bottom hand proceeding down the scale. Beating to the Scale. Full page text.

13, Metric Accent. Finger movements. Crossing over noises. How to correct unclean playing. Full page text.

14, How to correct unclean playing cont’. A tip to ensure clean playing. Full page text.

15, Lesson 6. Diagram 01. Notes on the Scale/Text.

16, Lesson 7. Diagram 02. Notes on the lines and spaces/Text.

17, Lesson 8. Diagram 03. Diagram for beating/Text.

18, Lesson 9. Changing hands and cleaning up all notes. Have a look at note Values Full page text.

19, Diagram 04. Exercise on changing hands. Low G, Low A, B on the scale.

20, Lesson 10. Diagram 05. Exercise on changing hands. C, D, E on the scale

21, Lesson 11. Diagram 06. Exercise on changing hands. F, High G, High A on the scale.



PAGES LESSONS DIAGRAMS ITEM LIST

22, Lesson 12. Introduction to the Grace note. G grace notes. Full page text.

23, Diagram 07. G, grace note on the scale/text.

24, Lesson 13. Diagram 08. G, grace note exercise/text.

25, Lesson 14. Introduction to the D, grace note. Full page text.

26, Diagram 09. D, grace note on the Scale/text.

27, Lesson 15. Introduction to the E, grace note. Full page text.

28, Diagram 10. E, grace note on the scale/text.

29, Lesson 16. Diagram 11. G & E grace note exercise/text.

30, Lesson 17. Introduction to Note Values and Pointing. High/A grace note. Full page text.

31, Diagram 12. Notes on the scale used as a timing exercise.

32, Lesson 18. Diagram 13. High A grace note on the scale (Back grace note)/text.

33, Lesson 19. Diagram 14. G, D, & E exercise/text.

34, Lesson 20. Introduction to the Pointing for all exercises. Full page text.

35, Diagram 15. Exercise on changing hands, with Pointing. Low G, Low A, B scales/text.

36, Lesson 21. Diagram 16. Exercise on changing hands, with Pointing. C, D, E scales/text.

37, Lesson 22. Diagram 17. Exercise on changing hands, with Pointing, F, High G, High A scales/text.

38, Lesson 23. Diagram 18. Exercise on changing hands, Pointing, with G grace notes. Low G, Low A, B scales/text.

39, Lesson 24. Diagram 19. Exercise on changing hands, Pointing, with G grace notes. C, D, E scales/text.

40, Lesson 25. Diagram 20. Exercise on changing hands, Pointing, with grace notes. F, High G, High A scales/text.

41, Lesson 26. Diagram 21. Exercise on changing hands, Pointing, with back grace notes on the scale to High G,.

42, Lesson 27. Introduction to the Throw on D. Full page text.

43, Diagram 22. Throw on D on the Scale/text

44, Lesson 28. Introduction to Doublings. Full page text.




45, Lesson 29. Diagram 23/24. Low G Doublings adding the G grace note. Low G Doublings, G, D grace note.

46, Lesson 30/31. Diagram 25/26. Low A Doublings adding the G grace note. Low A Doublings, G, D grace note.

47, Lesson 32/33. Diagram 27/28. B Doublings adding the G grace note. B Doublings, G, D grace note.

48, Lesson 34/35. Diagram 29/30. C Doublings adding the G grace note. C Doublings, G, D grace note.

49, Lesson 36/37. Diagram 31/32. D Doublings adding the G grace note. D Doublings, G, E grace note.

50, Lesson 38/39. Diagram 33/34. E Doublings adding the G grace note. E Doublings, G, F grace note.

51, Lesson 40/41. Diagram 35/36. F Doublings adding the G grace note. F Doublings, G, G grace note.

52, Lesson 42. Diagram 37. High G Half Doubling: on the scale with Pointing/text.

53, Lesson 43. Diagram 38. Half Doublings from High G with High A grace notes on the scale/Text.

54, Lesson 44. Diagram 39. High A adding High G hit, Pointing/text.

55, Lesson 45. Diagram 40. High A Half Doubling on the scale, Pointing/text.

56, Lesson 46. Diagram 41. Half Doubling from High A/text

57, Lesson 47. Diagram 42. C & B Doubling exercise/text.

58, Lesson 48. Diagram 43. All Doubling exercise/text.

59, Lesson 49 Introduction to the Birl. Full page text.

60, Lesson 50. Diagram 44/45. Birls on the scale. Birls on the scale with G grace note.

61, Lesson 51. Introduction to the Grips. Full page text.

62, Diagram 46. Grips (Leumluath) on the scale. D grace notes.

63, Lesson 52. Diagram 47. Grips. B grace notes exercise.

64, Lesson 53. Introduction to the Taorluath. Full page text.

65, Diagram 48. Taorluath: base melody with E grace notes.

66, Lesson 54 Diagram 49 Taorluath, on the scale grace notes.

67, Lesson 55/56. Diagram 50/51. Themals: on the scale/text. Tachums: on the scale/text.




68, Lesson 57/58. Diagram 52/53. Tachums exercise: for reel playing. Triplings on the scale/text

69, Lesson 59/60. Diagram 54/55. G. D & E, Triplings and Doublings exercise/Text. Crunluath on the scale/text.

70, Lesson 61. Introduction to Strikes. B, C, D, E, F, High G, High A. Full page text.

71, Diagram 56. B Strikes on the scale.

72, Lesson 62. Diagram 57. C Strikes on the scale.

73, Lesson 63. Diagram.58. D Strikes on the scale, using C grace note.

74, Lesson 64. Diagram 59. D Strikes on the scale, using Low G grace note.

75, Lesson 65. Diagram 60. E Strikes on the scale.

76, Lesson 66. Diagram 61. F Strikes on the scale.

77, Lesson 67. Diagram 62. High G Strikes on the scale with back grace note.

78, Lesson 68. Diagram 63. HighA Strikes on the scale

79, Lesson 69 Theory to cover early tuition. Full page text.

80, Theory to cover early tuition. Full page text.

81, . Diagram 64. Note values.



6

WHY, AM I WRITING THIS BOOK?

PERSONAL EXPERIENCES:

Firstly, let me introduce myself. I am James (Jim) McCombie, Pipe Major of the Gatwick Caledonian Pipe Band, where I have been for the past fourteen years or so. Here is a brief summary of my piping career. In the days when young children went to bed at six pm, my dad, Jimmy, would practise his tunes on the bagpipes after supper. This would send me to sleep and although I had no idea of the impression this would have on me, it has lasted a lifetime. He would practise most nights. When I was eleven years old, I asked Dad if I could learn to play the pipes. He told me I would have to take playing seriously and work hard as playing the pipes was not the easiest of instruments. After a few years tuition with the late Willie Grant of Strathdon, ex Scots Guards piper, I did manage to play with my local pipe band (Lonach) of which he was Pipe Major. At the age of fifteen, I joined the Scots Guards in the Junior Guardsmen company as a boy soldier / piper. By this time, I could handle a set of pipes or so I thought, but the army had different ideas. On one occasion, my Pipe Major, Kenneth (Curly) Roe, handed me a sixpence and asked me to go to the local shop to buy a bag of grace notes. I think he was trying to tell me something. During my training, we did a lot of square bashing and thus precise marching became the norm with the crack of many heels sounding as one. This may seam an odd thing to say but it does have some relevance, as it refers to the beat in music which I cover extensively in the book. To cut a long story short, in my twelve years as an army piper under Pipe Major, Angus MacDonald, I gained valuable experience at various parades, shows, films and stage work along with my bit of soldiering.

After being discharged from the Guards, I joined British Caledonian Airways, a grade two pipe band, with a lot of the top names in piping at that time under Pipe Major Bob Richardson. This came as a shock to me as I now knew that my playing was not up to their standard. This was a different ball game altogether, hard tunes with precision playing: So following a period of returning to square one, for example basics covering finger and thumb placement on the chanter and fundamentals covering finger control, cleanliness between notes and working with the beat on these notes. In addition, I needed to keep a regular steady beat, controlling and opening up movements for precise placing and execution. My tutor and friend Malcolm Dowie helped me to rid myself of inherent faults. Faults always resolve to basic or fundamental playing. These are either never taught or probably have been forgotten or never managed to master in the first place. These had to be corrected. I found this hard to do given the number of years that I had been playing, but I did make it through to the other side as a much-improved player and I have never looked back. Had I known in the beginning I may have avoided some of these faults. After joining British Caledonian Airways pipe band, I found that my own standard had improved because of the high standard of the players in the band. This was something to aim for. So onwards and upwards. Three years later in 1977 the band and I won champions of champions grade two in Aberdeen and were promoted grade one soon there after. What a feeling of success.

PIPERS’ BASIC PROBLEMS:

Most pipers, whether experienced or novice, will at sometime suffer from basic and fundamental problems. With the correct tuition, these would improve with a little effort. Do not let pride or “a will do” attitude stand in your way.



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The passage above tells of my experiences and after years of teaching the chanter to novice and band members. Having played in other graded pipe bands I understand the common faults that all pipers make, even the skilled players. The aim of this tutor book is to help you to be a competent piper with the help of a tutor. The tutor book covers all these faults in detail and how to eliminate them along with the exercises to improve your ability and finger dexterity. Teaching the Great Highland Bagpipes: A Structured Approach for Students and Tutors with Exercises and Explanations

NOTES FOR THE TUTOR:

This course has been structured so that all the exercises needed are straight forward and always building on earlier skills. Experience has taught me that basic finger work and basic technique are crucial to good playing. These exercises are straight forward, always building on earlier learned skills providing simplicity and completeness. These are elements that the student will need. By tradition, learning the chanter has consisted, of few if any exercises, but rather the desire to promote tunes. I think this is misleading as they would not have the knowledge and find it very difficult to apply. Over many years of teaching the practice chanter and the bagpipes, mistakes and problems tend to repeat themselves as I meet new students wishing to take up the instrument. Occasionally, a student may have individual problems, but most students tend to be consistent in making the same mistakes and encountering similar problems. With that in mind, I have, over the years developed a series of exercises for such beginners and by keeping rigorously to these exercises, students have moved on faster. We can learn much from the approach of other music teaching. They already realise that good finger work and good sound basic technique is essential to good playing.

Piano teaching is a good example. Pianists constantly need to practice the scales; even concert pianists begin the day with a practice session. Most piano teachers will hold either the Dip Tmus (Diploma in the Teaching of Music) or the DipABRSM (Diploma of the Associated Board of the Royal Schools of Music in piano teaching). I know many piping tutors are often thrown into the job. For many civilian pipe bands, it is often the best player that is invited to be pipe major, experienced or not. Being able to play well is important but many might lack basic teaching and understanding to apply these skills. Thus, the idea was born to produce a structured course for the tutor based on my own experience. This book is written for both student and tutor. Some of the golden rules may appear obvious but they need to be repeated again and again to the student.

Firstly, play slowly. Play very, very slowly. Speed will come soon enough. No student ever plays slow enough to handle these exercises.

Secondly, we beat. Even if it is just the scale, we beat each note. From day one, the student must learn to beat the time out with their foot. It is certainly difficult to accomplish, but must be acquired at a very early stage of their learning.

Thirdly, break down a movement whenever you can even to the extent of beating each melody and grace note to ensure a good balance throughout, and only then, it can be built up.

Don’t be in a hurry to give the student a tune; such tunes will come soon enough. Clearly, you can use snippets of tunes to illustrate elements the student has learned.



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It has been my experience in tutoring learners that the beat is often very hard to apply to music and marching. So I have introduced a method of learning the beat early in their program, starting with the scale and progressing through the movements until the beat/marching can be easily applied to a tune in its earliest stage. This will apply regulation and discipline throughout the music and the career of the Piper.

EXPLAINATION NOTE ON SLOW PLAYING:

Have a count of five between notes. This will have the effect of really slowing things down, controlling and making sure all notes are clean and also enabling the student to read the notation clearly. If, after the second note being played, in quick succession to the first, it is too fast, the second note must have a count of five as with all notes. Stop the student and begin again. As they play, they will speed up, stop the student again and ask them to begin again. Be insistent, as this is the only way they will slow down.

NOTE FOR THE STUDENT:

Whereas it is possible to teach yourself, it is very difficult and you will miss out on so much. Wherever possible you should find a tutor. The student, needs to follow the exercises as instructed by the tutor. Some will be followed sequentially, but, at times, the tutor may cover sections in their own style emphasising certain sections where the student is weak. Piping is fortunate in that most pipe bands are affiliated to The Royal Scottish Pipe Band Association, 45 Washington Street, Glasgow, G3 8AZ. Telephone +44(0)141 221 5414. Fax +44(0) 141 221 1561. Website: HTTP://WWW.RSPBA.ORG. They should be contacted for your local pipe band. Most bands have beginner’s sections, and often individual members give private lessons.

PROS:

Once you have overcome all the obstacles and are playing well, playing the highland bagpipes will open many doors. There is camaraderie amongst pipers worldwide and there are thousands of them. There are piping competitions for solo pipers and pipe bands. If you are good enough and you pass all the relevant piping exams, you could become an adjudicator at those competitions at home and abroad. There are all sorts of piping engagements: weddings, funerals, memorials, corporate functions, birthdays, parties, fetes and charity work; also, you may become involved in stage or in film work.

AND CONS:

Be under no illusions: learning the practice chanter and the bagpipes will take a lot of dedication, self-discipline and practice to get things right, in preparation for the playing the bagpipes, the biggest challenge of your life. Correct tuition will make all the difference in the end. None of these exercises are easy and will take some time to master. None of this will come overnight. It is going to take years to accomplish a good standard of play. They say seven years to reach the top standard. The highland bagpipes are a very intricate instrument and require a disciplined mind and good finger work, blowing, setting up reeds, tuning, maintenance, theory, and none of these are run of the mill.

INFORMATION:

Although the practice chanter is a musical instrument in its own right, it is mostly used as a learning aid for finger work for the bagpipes. Foundation of the bagpipe finger work starts here. As constructing a brick wall, this is the concrete base that will support everything else. The bricks are the different notes and movements: The melody, rhythm and accents are the cement. You cannot have one without the other. You must build correctly, neatly and confidently to withstand the test of time.

http://www.rspba.org/



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SCALES:

Scales are an alphabetical succession of sound. They rise from the bottom up, starting notation from Low G, Low A, B, C, D, E, F, High G and High A. The bagpipes produce continuous sound, which means that everything that we play is heard, mistakes and all, so to prevent this, I would strongly advise anyone to go to a tutor or pipe band to learn properly.

GRACE NOTES AND MOVEMENTS:

Grace notes and movements are adornments to given to notes enhancing the music by giving depth to certain notes. Always play slowly and deliberately while learning these scales and movements. There is no requirement for speed at this stage since speed will come soon enough. We are looking for quality. Although we are involved with technical aspects of piping, the overall aim is to enjoy playing.

INTRODUCING THE BEAT:

The beat is the rhythmic sound of a drumbeat in all music. The beat is a means to control or regulate music by means of a drum tap or use of the foot to imitate a drum beat. I cannot over emphasise the importance of the beat. Start by clapping your hands at a slow deliberate and steady rhythm, as you do this speak the notes A-B-C etc as your hands come together, so that the words and clap are working together as one. The beat at this stage must be opened up to slow it down. Once this has been achieved, apply the same to the chanter, beat a slow deliberate and steady rhythm and sound each note on the beat. In this process you will learn the note names, note values, timing and clean playing between the notes that will enable you eventually to learn tunes on your own with a high degree of success, and to write or compose music. By placing your foot on to the floor at the same time as you lift or close the fingers on the chanter produces the beat. You should hear one sound - beat and note together, not one after another.

The reason for the beat, is to control all finger movements initially and then control the tune’s tempo eventually so that the music does not wander about either slower or faster than it should: no drifting. Playing to the beat is essential for stability of the music and playing precisely with others in a band.

Invariably a piper plays a tune and the beat is an after thought, which allows the music to wander, as his beat has no control over the tune. Playing a tune to the beat will have the desired effect: it will control the precision of the tune and make it sound controlled throughout. Add the beat to all of the exercises enclosed to ensure balance of the movements. Again, you should hear one sound - beat and note together. The beat is used by both the military and civilian organisations for marching in precise time with the music. The beat is also used in dancing to keep the tune in time for March Strathspey, Reel, Jig and Hornpipe dancing times.

TEMPO:

Tempo is the speed of a composition. This does not mean that exercises are to be rushed which will make learning much harder. Keep everything slow and deliberate.

LESSON-ONE: PLACING RIGHT OR BOTTOM HAND ON THE PRACTICE CHANTER: The holes involved are Low A, B, C, and D. Position the end pad of the small finger (pinkie of the right or bottom hand) on to the bottom hole of the chanter: the Low A hole. Drop the pads of the other three fingers on to the ascending B, C and D holes.



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Position the thumb of the lower hand either behind the C finger, or between the B and C fingers. The thumb is positioned on its edge rather than flat, giving good balance to the hand while playing. Making sure that the fingers are straight across the chanter, and that the thumbs at the back of the chanter are positioned on their edge rather than flat, similar to the position of shaking hands with some one. Now look down the line of fingers. Feel the holes against the fingers, if you cannot, don’t worry, as it will come in time. PLACING LEFT HAND OR TOP HAND ON THE PRACTICE CHANTER The holes involved are E, F, High G and High A. Position the fourth, or wedding ring, finger of the left or top hand on to the chanter’s next hole, E, the fifth hole from the bottom. Place the end pad of the finger on to the hole, then place the other two fingers on to the ascending holes F and High G; again, keep the fingers straight across the chanter. The thumb is positioned on the top hole at the back of the chanter, High A and on its edge rather than flat. Do not at any time curl your fingers round the chanter as this will let air escape past the holes that are not properly sealed. You may find that some holes are in line with the creases of some fingers. This is nothing to worry about, as straight fingers will cover the holes quite well. You will notice as you progress up the scale that each note in turn raises or sharpens in sound.

LESSON-TWO: BOTTOM HAND PROCEEDING UP THE SCALE: Keep your fingers straight but not rigid. They should look straight with the wrists and forearms in a half moon shape. Don’t be tempted to kink the wrists as this will make it hard to move the fingers, and will take your fingers off the centre line causing squeaky noises.

Now blow your chanter, at constant pressure but not too hard or to soft. Try and get a pleasing sound from the Low G as with this exercise you now have all the holes covered. If you find, which you probably will, squeaky noises coming from the chanter, this is because the holes are not properly covered, or that the fingers are not straight across the chanter. Try positioning your fingers again. When ascending the scale, ensure that the individual notes are opened immediately the foot contacts the floor. After sounding Low G all fingers on the chanter, take the little finger off the chanter, the Low A position, and beat the note Low A as you hear the Low A with your foot.

Sound Low A and take the next finger off the chanter; this is the B position. Beat the note as you hear it with your foot.

The next note is C, so lift the next finger off the chanter, hole 3, and replace the Low A finger on its hole at the same instant as lifting C, beating the note with your foot. This will look like a bridge or a C facing the chanter. The C and Low A fingers move together ending up on the C position. The C finger takes priority over the Low A finger. If not you sound a false B or unclean note.

Sound C and simply lift off the D finger, beat the note as you hear it with your foot, and look at the bottom hand. All three fingers (B, C and D) are off the chanter and the pinkie is on the Low A hole: this is the D position. Do not lift your fingers too high of the chanter as you will have to return them later.

Fingering and blowing the chanter will seem hard work, and it is, but they will help to build up your finger dexterity, lungs, lips and concentration. I use the word priority quite a lot and all it means is the note that you are going to is to be sounded fractionally in front of the note that you have left. This may sound stupid but it must happen this way or you have a catch or unclean sound being heard. Example is D to E, which is described next.



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To sound a note means, to blow a note before you move to another note otherwise you will just hear the second note of which there is no advantage. You must hear between notes for unclean sounds appearing.

LESSON-THREE:

TOP HAND PROCEEDING UP THE SCALE: The next note is E, which is the first finger of the top hand. The pinkie of this hand does nothing. This is quite a hard move to master but an important one.

Sound D then lift the E finger off the chanter, hole 5, beating the note as you hear it with your foot, and close the D, C and B fingers together onto their holes while lifting off the Low A as the priority note. This move involves five fingers changing places at the same time.

Crossing over noises will occur on D to E until you perfect the movement. While you use all of the top hand, the pinkie of the bottom hand should remain up or off the chanter in Low A position.

Sound E then lift the F finger off the chanter, hole 6, beat the note as you hear it with your foot. This is the F position. Remember your pinkie!

Sound F then lift the High G finger off the chanter, hole 7, beating the note as you hear it with your foot. This is the High G position: you should now have three fingers off the chanter on the top hand. Remember your pinkie.

Sound High G, take the thumb off at the back of the chanter before putting the E finger on its hole, hole 8, beating the note as you hear it with your foot. This is the High A position: the E finger should give the impression that it has pushed the thumb off the back hole

Practise going up the scale with the top hand until clean and correct. Then practise the whole scale up (Low G to High A) until clean and correct. Beat all the individual notes as you hear them with your foot. This may take some time to accomplish, as this is all new and a very disciplined exercise.

THE BEAT:

I cannot over emphasise the beat enough. Do not produce the note before or after the beat but on the beat: the sound of the beat and note must be heard together as one. Practise a slow steady beat, with your foot or metronome, and then proceed up the scale ensuring that the individual notes are being opened as the foot contacts the floor. Ensure that you play the notes to the beat, not the other way round; control and crispness in finger work will depend on this.

LESSON-FOUR TOP HAND PROCEEDING DOWN THE SCALE: You will notice as you progress down the scale that each note in turn becomes lower or flatter in sound. When descending the scale, ensure that the individual notes are closed immediately the foot contacts the floor. Do not produce the note before or after the beat but on the beat. The sound of the beat and note must be heard together as one. (Take note that the bottom hand is always in Low A position (pinkie off) while you are working with the top hand.)

Sound High A, put the thumb on at the back of the chanter after taking the E finger off its hole for High G and beat the note as you hear it with your foot. The thumb should give the impression that it has pushed the E finger off the hole; keep the thumb on its side



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or edge. You should now have three fingers off on the top hand. Remember your pinkie.

Sound High G and place the High G finger back on the chanter, to sound the F, beating the note as you hear it with your foot. You should now have two fingers off on the top hand. Remember your pinkie.

Sound F, then place the F finger down on the chanter, to sound the E beating the note as you hear it with your foot. You should now have one finger off on the top hand. Remember your pinkie. This next move is quite a hard move to master and an important one.

Sound E, then place the E finger on the chanter, after lifting all three fingers of the bottom hand off their holes. The priority note is D, (D, C and B) Place the Low A finger on its hole. This is the D position. Beat the note as you hear it with your foot.

This movement involves five fingers changing places at the same time and crossing over noises will occur until you perfect the movement. Practise the top hand going down the scale until clean and correct.

LESSON-FIVE: BOTTOM HAND PROCEEDING DOWN THE SCALE:

Sound D and then close the D finger onto the chanter, for the C position beating the note as you hear it with your foot. C looks like a bridge or a C facing the chanter. The Low A finger remains on its hole.

Sound C, then close the C finger onto the chanter, while lifting the B and Low A finger off the chanter, leaving two fingers off the chanter. This is the B position beating the note as you hear it with your foot.

Sound B and then close the B finger onto the chanter, leaving the pinkie up, or in Low A position beating the note as you hear it with your foot.

Sound Low A, then close the Low A finger onto the chanter beating the note as you hear it with your foot. This is Low G position: all fingers correctly on the chanter.

Practise the bottom hand going down the scale until clean and correct. Then practise the whole scale down from (High A to Low G) until fingering is clean and correct beating all the individual notes as you hear them with your foot. This may take some time to accomplish. Always practise with a slow steady beat, with your foot and then proceed up and down the scale ensuring that the individual notes are being opened or closed as the foot contacts the floor. Ensure that you play the notes to the beat and not the other way round; crispness in finger work will depend on this. If you are unfamiliar with reading musical notation, try looking at the written notes as you play them to get used to their position. Listen as well to the sound of each note as this will help you eventually as you cover all exercises.

BEATING TO THE SCALE:

Secure a slow, slow steady beat with your foot or metronome and then proceed up and down the scale, ensuring that the individual notes are opened or closed immediately the foot contacts the floor. You should hear one sound: note and foot together.



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When ascending the scale, ensure that the individual notes are opened immediately the foot contacts the floor. Again, you should hear one sound. When descending the scale, ensure that the individual notes are closed immediately the foot contacts the floor. Again, you should hear one sound. Ensure that you play the notes to the beat and not the other way round. Playing a tune to the beat will control the precision of the tune and make it sound controlled throughout. Playing to the beat is essential for stability of the music, and playing precisely with others in a band. Add the beat to all of the exercises enclosed to ensure balance of the movements. In theory: the beat refers to metric accent.

METRICAL ACCENT:

Metrical accent in music is written to incite action, such as marching or dancing. The music has within it, the regular rhythmic recurrence of pulsating accents or beats, which the listener anticipates to a very fine degree, and marks, with spontaneous movement of feet or hand. The recurrences of accents, both strong and weak, measured off in regular groups by bar lines and are known as metrical accents. Metrical meaning measured.

FINGER MOVEMENTS:

Practise these finger movements by proceeding up and down the chanter slowly and deliberately. For example, when moving your fingers to create a note, do not let your fingers do what they want. When you move your fingers, move them sharply and cleanly, not only coming off the notes, but also returning to the notes. Don’t forget that all finger work is heard whether good or bad. Imagine a cork coming out of a bottle: there is silence then a mini explosion when it is released. Your finger will have to move sharply to achieve this. This will take practice but it is well worth doing.

CROSSING OVER NOISES:

Crossing over noises occur when there is catching between notes. Catching, or unclean playing, means that there is other note that sounds between two notes. For example, consider changing from D to E: the D fingers close to low A position a fraction before sounding E. An unwanted note, Low A, will be sounded momentarily. The way to eliminate this is to remember that when the highest note is sounded, for example High A, you cannot sound any other note below it. The priority note: is the note that you are going to not coming from. Therefore, it follows that if D to E is played, the E is given priority over the D closing, no unclean sound will appear. The same applies going down the scale; in changing from E to D, the D will take priority over E. For example, the D fingers lift off the holes prior to closing the E finger. This is where your ears come into play: you must listen for these odd sounds and eliminate them.

HOW TO CORRECT UNCLEAN PLAYING:

Unclean playing is producing one note and moving to the next note with a blip, or catching sound, in between the notes. D to E is the best example of this unclean playing but can happen between any two notes.. When changing from bottom hand to top hand, Before the E is sounded, the bottom hand closes to Low A position too quickly causing the Low A to sound momentarily. This will happen in a split second but it does happen. The rule to remember is to give priority to the note you are going to going up or down the scale.

Sound D and don’t close the D fingers until the E finger is raised off the E hole. Then close the bottom hand to Low A position without actually sounding Low A.



14

You now have a clean changeover with no unclean sounds appearing. This will have to be practised very slowly at first. The note changes that demand special attention and practice are: Up the scale Low G to B, B to C, D to E, and High G to High A. Down the scale High A to High G, E to D, C to B and B to Low G. E to D, and D to E, these are the hardest to master because of the hand changeovers.

A TIP TO ENSURE CLEAN PLAYING:

Sound the first note, listen to it, must have a clear sound, then stop blowing. Sound the second note but listen to it closely. As this is here it will all go wrong. When blowing both notes one after another you should hear the second note clearly. If there are any other sounds, it is not correct.



15

Written with PiobMaster (Ceol Mor Software Ltd.)

Practical diagram 1

Notes on the Scale


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D D


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D D

/Written with PiobMaster (Ceol Mor Software Ltd.)

D D


DD DWritten with PiobMaster (Ceol Mor Software Ltd.)

D DWritten with PiobMaster (Ceol Mor Software Ltd.)

D D

As you progress through all the movements in this book, the main notation notes will be referred to as Melody notes (large heads). Every movement from now on must be played slowly deliberate and cleanly with a beat until competent.

As you read the notes, play them and listen, recognise them as you practise up and down the scale. This is the way to learn the melody notes by sight, the sound of each note by ear, which you will require as you progress through this book

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LESSON-SIX



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Practical diagram 2

Notes on the Lines and Spaces


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DWritten with PiobMaster (Ceol Mor Software Ltd.)

D D These two scales rise and fall two notes at a time, which makes this harder as your fingers will try to follow the scale you have just learned, with one note following another. Your fingers will try and follow the scale even though you want to play every second note. This causes catches, blips or unclean sounds between notes. They must be clean. The solution is to think of the note you want to go to and make it the priority note, and you should lift or drop to that note, you will find that your fingers contorting to the shapes required, yes it feels awkward but certain notation requires these shapes.

LESSON-SEVEN



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Practical diagram 3

Diagram for beating


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D DD DWritten with PiobMaster (Ceol Mor Software Ltd.)

D DD DWritten with PiobMaster (Ceol Mor Software Ltd.)

D D DDWritten with PiobMaster (Ceol Mor Software Ltd.)

DD D D

You may find this diagram harder to achieve. Beating: I have introduced this diagram for beating on the melody notes and as an aid in recognising the notes on the stave. The fact that they do not follow in alphabetical order will have its own problems of catching from note to note. Move from note to note deliberately and cleanly. Think of the priority notes always.

LESSON-EIGHT



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CHANGING HANDS AND CLEANING UP ALL NOTES:

It may be apparent to you now that some or all of the notes while moving around on the chanter are not clean. The following exercises are to help control the fingers in any variation while keeping the notes clean from Low G to High A. On the practical diagram 4 we have Low G, Low A and B scales. In the first bar, the 1st beat consists of two quavers, equal to one crotchet and the second beat has the same values as beat one. To equalise the two quavers you need to have a regular foot beat on both notes until you are familiar with them, then, and only then will you beat on the first quaver but playing the two quavers equally. To get true value of the two even notes, always go onto the next beat note so that you now have three notes in succession but only two beats. Apply this to the complete exercise, and to all of these diagrams. On the practical diagram 5, we have C, D and E scales. On the practical diagram 6, we have F, High G and High A scales. Once you have evened out the first two notes, try beating the first beat through to the second beat, this will even out the second note still further as it will be in the middle of the two beats.

Have a look at the Note Values Diagram 64 on page 81 and learn them thoroughly.

LESSON-NINE



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Practical diagram 4Look for clarity betw een notes, Low G, Low A and B scales.

Exercise on changing hands


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Practical diagram 5Look for clarity betw een notes, C, D and E scales.



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LESSON-TEN



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Practical diagram 6Look for clarity betw een notes, F, High G and High A scales.



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LESSON-ELEVEN



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INTRODUCTION TO THE GRACE NOTES: The grace notes are musical embellishments used to adorn the melody. They are written on the manuscript as smaller headed notes with their stems turned up and three small tails. Their individual values,

132nd or

demi-semi quavers, they have nothing to do with the flow or timing of a tune, but do add weight to given notes to enhance the melody. The next important step is to master the grace notes. Once this has been accomplished, everything else is progressively built on two items: the scale and three grace notes. If the grace notes are heavy or out of sync with the melody notes they will disrupt the flow of the music, therefore, grace notes must be practised until perfected. The grace note adds a little weight to a given melody note and, as you will see, the more gracing that is added the greater the weight. There are some written grace notes that are not actual grace notes but are melody notes shortened to grace note value. This happens in other movements, which we will learn later.

G GRACE NOTE:

The G grace note is not played as a melody note but as a shortened version of High G with only one finger raised rather than three. This means that the E and F fingers, which would normally be off the chanter while sounding High G, are not used when the grace note is played. There are two rules that apply to all three grace notes: G, D and E. Rule 1 Going up the scale: lift the grace note finger and the melody finger off together. They should leave the chanter at the same instance using the G grace note as a priority note, which must be heard just before

the melody note is sounded, and then the grace note finger should sharply return, which will leave you sounding the chosen melody note. Rather than beating on the melody note, we are now concentrating the beat on the G grace note as it returns to the chanter. The grace note landing and the beat working together. Take care to make sure that the grace note and melody note leave the chanter together with the priority given to the grace note to ensure clean playing. If not, you will have the grace note sounding after the melody note, giving an unclean sound. Some of these patterns will feel odd at first, but stick to it and they will come with practice. Rule 2 Going down the scale: the grace note and the melody note land together on the chanter. Lift the grace note finger off the chanter on its own, priority will be closing the melody note, then close the G grace note. If not, you will have the grace note sounding after the melody note, giving an unclean sound. For example, as the G grace note finger opens or lifts to create the shortened High G, the foot will also rise from the floor. As you close the grace note finger onto the chanter, the foot will contact the floor and you should hear one sound with both foot and note. The idea eventually is to have the grace note reduced to the beat value, which is short and snappy, like a tap on the drum. The majority of beats will fall on a G grace note, so grace notes and beat will have to be practised until perfected. This is the first and most used grace note. Written on manuscript it looks as if it is played in front of the melody note. It actually forms part of the melody note to which it is attached. The G grace note is quite difficult to finger but will get easier as you practice. To beat the G grace note. The G grace note finger closes on the chanter, with the beat.

LESSON-TWELVE



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Practical diagram 7

G grace note on the scale


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D DGGWritten with PiobMaster (Ceol Mor Software Ltd.)

D DG GWritten with PiobMaster (Ceol Mor Software Ltd.)

D DG G Sound the Low G first then play the G grace note with the beat. The first note must be sounded first, otherwise you would not hear the first grace note. The G grace note is used as a transfer grace note between notes. The second grace note is played from Low G to Low A and so forth up and down the scale.

You will notice that the High G and High A do not have a G grace note on them; it is impossible to play from these two notes.



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Practical diagram 8

G grace note exercise


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G@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

G @ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

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This exercise will help in two ways.

1. To control the grace note.

2. To move the fingers around within the scale and to read the notation

Beat the G grace note when the G grace note finger closes on the chanter. Play evenly the other notes. If necessary, beat all the notes until fluent Most diagrams will have a line drawn under notes to group notes together, this has the effect of one beat per group and gives value to quaver notes in that group.

LESSON-THIRTEEN



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INTRODUCTION OF THE D GRACE NOTE: The D grace note is not played as a melody note but as a shortened version of D melody note with only one finger raised rather than three. This means that the C and B fingers, which would normally be off the chanter while sounding D, are not used when the grace note is played. Again there are two rules that apply to all three grace notes: G, D and E. Rule 1 Going up the scale: lift the grace note finger and the melody finger off together. They should leave the chanter at the same instance using the D grace note as a priority note, which must be heard just before the melody note is sounded, and then the grace note finger should sharply return, which will leave you sounding the chosen melody note. When playing a D grace note to C be very careful to en sure that the D is sounded ahead of the C, returning the grace note finger to sound C. This particular movement does cause problems. Rather than beating on the melody note, we are now concentrating the beat on the D grace note as it returns to the chanter. The grace note landing and the beat work together. Take care to make sure that the grace note and melody note leave the chanter together priority must be given to the grace note to ensure clean playing. If not, you will have the grace note sounding after the melody note, giving an unclean sound. Some of these patterns will feel odd at first, but stick to it and they will come with practice. Rule 2 Going down the scale: the grace note and the melody note land together on the chanter. Lift the grace note finger off the chanter on its own, priority will be closing the melody note, then close the D grace note. If not, you will have the grace note sounding after the melody note, giving

an unclean sound. For example, as the D grace note finger opens or lifts to create the shortened D, the foot will also rise from the floor. As you close the grace note finger onto the chanter, the foot will contact the floor and you should hear one sound with both foot and note. The idea eventually is to have the grace note reduced to the beat value, which is short and snappy, like a tap on the drum. The D grace note is often used as an echo beat or second grace note. D grace notes, and beat will have to be practised until perfected. This is the second most used grace note. Written on manuscript it looks as if it is played in front of the melody note. It actually forms part of the melody note to which it is attached. The grace note and melody note are on the same hand, which actually makes it harder to handle unlike the G, and E. grace note. The D grace note is quite difficult to finger but will get easier as you practice. Beat the D grace note. The D grace note finger closes on the chanter, on the beat. Your foot has to lift off the floor to be place back. So the D grace note and foot make contact at the same instant. As you can see on diagram 9, the D grace note does not cover D, E, F, High G or High A. The reason for this is once you play the D grace note you cannot physically play higher with D grace notes. You cannot play above the melody note with the same named grace note but you can play below.

LESSON-FOUREEN



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Practical diagram 9

D grace note on the scale


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D DDG G G


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GD DWritten with PiobMaster (Ceol Mor Software Ltd.)

DG DG Sound the Low G first then play the D grace note with the beat. The D must be played open and cleanly then closed to Low G to form the grace note. The first note must be sounded first otherwise; you would not hear the first grace note.

The second grace note is played from Low G to Low A and so forth up and down the scale. You will notice that the D, E, F, High G and High A do not have a D grace note on them; it is impossible to play from these notes.



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INTRODUCTION TO THE E GRACENOTE The E grace note is not played as a melody note but as a shortened version of E Melody note with only one finger raised and returned. There are two rules that apply to all three grace notes: G, D and E. Rule 1 Going up the scale: lift the grace note finger and the melody finger off together. They should leave the chanter at the same instance using the E grace note as a priority note, which must be heard just before the melody note is sounded, and then the grace note finger should sharply return, which will leave you sounding the chosen melody note. Rather than beating on the melody note, we are now concentrating the beat on the E grace note as it returns to the chanter. The grace note landing and the beat work together. Take care to make sure that the grace note and melody note leave the chanter together priority must be given to the grace note to ensure clean playing. If not, you will have the grace note sounding after the melody note, giving an unclean sound. Some of these patterns will feel odd at first, but stick to it and they will come with practice. Rule 2 Going down the scale: the grace note and the melody note land together on the chanter. Lift the grace note finger off the chanter on its own, priority will be closing the melody note, then close the E grace note. If not, you will have the grace note sounding after the melody note, giving an unclean sound. For example, as the E grace note finger opens or lifts to create the E, the foot will also rise from the floor. As you close the grace note finger onto the chanter, the foot will contact the floor and you should hear one sound. sound with both foot and note.

The idea eventually is to have the grace note reduced to the beat value, which is short and snappy, like a tap on the drum. The E grace note is used as an echo beat or second grace note. E grace notes, and beat will have to be practised until perfected. This is the third most used grace note. Written on manuscript it looks as if it is played in front of the melody note. It actually forms part of the melody note to which it is attached. The E grace note is quite difficult to finger but will get easier as you practice. Beat the E grace note. The E grace note finger closes on the chanter on the beat. Your foot has to lift off the floor to be place back. So the E Grace note and foot make contact at the same instant. As you can see on diagram 10, the E grace note does not cover E, F, High G or High A. The reason for this is once you play the E grace note you cannot physically play higher grace notes. You cannot play above the melody note with the same named grace note but you can play below.

LESSON-FIFTEEN



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Practical diagram 10

E grace note on the scale


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DG DGWritten with PiobMaster (Ceol Mor Software Ltd.)

DG DG

Sound the Low G first then play the E grace note with the beat. The first note must be sounded first otherwise you would not hear the first grace note. The second grace note is played from Low G to Low A and so forth up and down the scale.

You will notice that the E, F, High G and High A do not have an E grace note on them; it is impossible to play from these notes.



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G and E grace note exercise


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G G@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)


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This exercise is simlar to diagram 8. This exercise will help in two ways.

1. To control the grace note.

2. To move the fingers around within the scale and to read the notation.

Beat the G grace note when the G grace note finger closes on the chanter. Play evenly the other notes. And use the second grace notes to return to the melody note. If necessary, beat all the notes until fluent.

LESSON-SIXTEEN



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INTRODUCTION TO NOTE VALUES AND POINTING: The aim of this exercise is to help improve the dotted or most valued note (the held note) and the tailed or shortest valued note (the cut notes) within the music. This is referred to as “pointing”. Pointing is the holding and subsequent cutting or shortening of notes within the time of a tune.

APPLICATION:

Hold the Low G as in the diagram 12 (the longer the better) and cut the Low A (the shorter the better without losing the sound of the Low A) to B and hold. Cut the C to D and hold. Continue the same pattern up and down the scale. The second eight bars are basically the same but cut the first note and hold the second. These variations will help the holding and cutting of notes. Many people struggle with holding and cutting notes and have a tendency to round off the music causing it to lose its spirited and lively sound. I.e. the tunes natural value of notes or to under hold the held notes and over lengthen cut notes. There is a need to find a balance here. For the first eight bars, hold the beat note for as long as possible within the slow regular tap of your foot. Sound the cut note just a fraction before the second beat occurring. This will have a stilted effect and this is the effect we want.

1st beat held.

an-cut note.

2nd beat held.

The number is the held note. an is the cut note. Pronounced this by voice, One, stretched sound, an, very short sound. For the second eight bars, cut the beat note for as short as possible without deleting it altogether. Sound the cut note before you beat on the held note then rest on it. If you do not hold or cut correctly the effect is to round off two or more notes of unequal value. i.e. giving them the same value, (this will happen quite easily). You must therefore work to achieve the holding and cutting of notes.

THE HIGH A OR BACK GRACE NOTE WITH POINTING:

The High A grace note is not played as a melody note but as a shortened version of High A with only the thumb raised and returned. Rule 1 Going up the scale: From Low G lift the High A thumb off the chanter on its own, (short High A) and as you return the thumb to the chanter lift the High G fingers off. Use the High A grace note as a priority note which must be heard just before the High G melody note is sounded. Priority must be given to the grace note to ensure clean playing. If not, you will have the grace note sounding after the melody note, giving an unclean sound. Some of these patterns will feel odd at first, but stick to it and they will come with practice. Rule 2 Going down the scale: the grace note and the melody note land together on the chanter. Lift the grace note thumb off the chanter on its own, priority will be opening the High G melody note, then close the High A thumb onto the chanter. If not, you will have the grace note sounding after the melody note.

LESSON-SEVENTEEN



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Notes on the scale used as a timing exercise


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D FWritten with PiobMaster (Ceol Mor Software Ltd.)

D FWritten with PiobMaster (Ceol Mor Software Ltd.)

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High A gracenote on the scale (Back gracenote)


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In forming the back grace note up the scale, requires the top hand off the chanter momentarily sounding High A with no E finger on the hole then close the thumb to High G. On closing the thumb, remember where the hole is, this movement is awkward to start with, so persist with it.

Going down the scale from High G. Sound High G, then High A without the E finger on the chanter, closing both the thumb and melody note together giving priority to the thumb. Once this is mastered tighten up the back grace note

LESSON EIGHTEEN



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G D and E grace notes exercise


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G G G G G G@ @ @ @ @ @@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)



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1st Bracket: G, D and E grace notes to be played evenly on

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Bracket: G grace note melody note is held, D and E grace note melody notes, played tighter one after another. Beat the G grace note.

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Bracket: G grace note is to be played evenly on single melody notes, second stave, G grace note melody is held, D and E grace notes melody notes, played tighter one after another again beat on the G grace note.

LESSON NINETEEN

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3

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INTRODUCTION TO THE POINTING FOR ALL EXERCISES The aim of these exercises on “changing hands with pointing” are:

1. To learn cleanliness on hand to hand change over.

2. Cleanliness between each set of notes and to beat on the first note in the group of notes.

3. To be able to time these notes whether held or cut. Pointing is the holding and subsequent cutting of notes within the time of a melody. For the first eight bars in the exercise, hold the beat note for as long as possible within the regular beat of your foot. The cut note are sounded just a fraction before the second beat. This will have a stilted effect and this is the effect we want.

1st -

beat held.

an – cut note.

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an – cut note. Speak aloud: ONE, TWO, being the stretched notes and AN being the very short notes.

For the second eight bars in the exercise, cut the beat note as short as possible without deleting it altogether, making sure that the beat and note sound together. Then sound the cut note as you beat, then rest on the held note. If you do not hold or cut correctly, you will round off both notes, giving them the both the same value. This will happen quite easily, you must work to achieve the holding and cutting of notes. This exercise is designed to sharpen and clean up finger movement when playing the scale.

LESSON TWENTY



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Exercise on changing hands, with pointing


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Practical diagram 16 Look for clarity betw een notes, C, D and E scales.



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LESSON TWENTY-ONE









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LESSON TWENTY-TWO









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Exercise on changing hands, pointing, with G grace notes


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LESSON TWENTY THREE









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Practical diagram 19 Look for clarity betw een notes, C, D and E scales.

Exercise on changing hands, pointing with G grace notes


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LESSON TWENTY FOUR



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Exercise on changing hands pointing with Grace notes


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LESSON-TWENTY FIVE









41


Practical diagram 21Clarity of Notes on Scale to High G. 1st 8 bars hold beat note. 2nd 8 bars cut beat note.

Exercise on changing hands, pointing, with Back grace note


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LESSON-TWENTY SIX



42

INTRODUCTION TO THE THROW ON D. On diagram 22. The throw on D is broken down into three separate parts.

1. First eight bars are played very open and slow to ensure clean playing and understanding of the movement. Beat each note.

2. In the first beat, the notes are Low G, D, C and D. Concentration has to be on the first D, this is where most pipers stumble by not producing a clean D from Low G.

3. Sound the Low G then play D without an unclean sound appearing. The priority note is D, then play C and D notes.

If this first D is not played clean it will never sound right in the throw on D, so pay a great deal of attention to it. It must be clean. Also take note of the value of the melody notes them selves. To avoid confusion, keep to the same pattern of beating as with the grace notes. We will continue in that vein so the beat will fall on the first Low G of the throw on D, and not, as some players would have it, on the D grace note. I see no reason for us to change the style of where the beat falls; this will only complicate things, so apply the beat as before to all movements. The second eight bars are of similar make up. However the D grace note, which having practiced open as above, now tightens up to form a proper D grace note. Timing of the movement is Low G, D grace note to C followed by the second D melody note. All this must be played very slowly at first ensuring the first D is clean, as a

melody note, and then as a grace note. Do not try to tighten the grace note too much, keep it clean and open until you master it. Also, take note of the value of the melody notes them selves. The third eight bars are how the movement appears in notation on the stave. As you may appreciate now, what I referred to earlier about melody notes being played as grace notes, the first Low G is now grace note value, the first D is now grace note value and the C is now grace note value followed by a D melody note. Also take note the value of the melody notes themselves and the pointing, cut and held.

LESSON-TWENTY-SEVEN



43


Practial diagram 22Breakdow n in three parts, third part w ritten as normal

Throw on D on the scale


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GGG @ @ @ @ @ @ @@ @@ @ @ @@ @@ @ @ @@ @ @ @


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G G@ @ @ @ @ @ @ @@ @@ @ @ @@ @

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G G@ @ @@ @@ @ @ @@ @@ @ @ @

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a a a E@ @ @ @


a a@ @ @ @


a a@ @@ @


aa@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

aa a E@ @@ @Written with PiobMaster (Ceol Mor Software Ltd.)

aa @ @@ @Written with PiobMaster (Ceol Mor Software Ltd.)

Da a@ @

There are two other types of throw on D, which I do not cover here. The first is known as a light throw on D, which instead of making the first D

grace note, a grace note it is more of an open note or hit. The second is known as a heavy throw on D, which is in form of a grip.



44

INTRODUCTION TO DOUBLINGS: The aim of this exercise is to develop a technique to produce the perfect doublings. This includes the G grace note on Low G as first part of the doubling. The G grace note is the first grace note in all doublings except High A and High G half doublings. A Half doubling is where the first grace note cannot be played because of a higher note than the grace note being played. Remember to keep melody and grace notes clean. When the grace note lands on the melody note, the grace note will emphasise the melody note. Remember the priority note, the note or grace note that you are going to not the one you have just left. Remember to return the grace note cleanly and with sharpness on the beat.

Doublings are our most common grace note combination. You would have to look long and hard to find a pipe tune that doesn’t contain a doubling. As the name suggests, doublings are made up of two grace notes. A short melody note, which is in the time of a grace note and separates these two grace notes, The time you spent on your grace notes was time well spent as the better the grace note the better your doublings. Accurate, crisp and rhythmic grace notes make stronger doublings.

The G grace note is the single grace note on which the success of the doubling depends. Failure to execute a clear and precise G grace note results in a doubling that is unclear, too tight, unbalanced or just messy. If all or any of these happen, return to the G grace note and practise the movement constructively, controlled and positively. This missing a G grace note is akin to missing the first syllable in a word One fault that will cause a major problem regarding rhythm is failing to play the grace note to the beat. You must ensure that the beat and return of the G grace note work together: it is essential ,(ot it) Got it. The following steps are designed to break up the doublings into smaller pieces so you can perfect each stage before progressing.

Step one is to ensure clarity from one note through the scale range. This is important to make sure you are not catching or false fingering the notes that follow. Practise the G grace note first with the beat from one note through the scale range. This is important to make sure you are playing each grace note on the beat and cleanly.

Step two is to adding the second or echo grace note to step one. These second grace notes do differ from several melody notes. Most bottom hand doublings are from Low G, Low A, B and C, consists of G and D grace notes. From D melody note up the scale, the second grace note varies from E, F, High G and High A grace notes.

LESSON-TWENTY-EIGHT



45



Step one: Low G Doublings: Adding the G grace note


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Step Two: Low G Doublings: with G, D grace note


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IJ@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

I I@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

I DI@ @

LESSON-TWENTY-NINE



46



Step One: Low A Doublings: Adding the G grace note


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Step Two: Low A Doublings: with G, D grace note


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L L@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

L L@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

DL L@ @

LESSON-THIRTY

LESSON-THIRTY-ONE



47



Step One: B Doublings: Adding the grace note


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Step Two: B Doublings: with G, D grace note


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O O@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

O O@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

DO O@ @

LESSON-THIRTY-TWO

LESSON-THIRTY-THREE



48



Step One: C Doublings: Adding the G grace note


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DG G@ @



Step Two: C Doublings: with G, D grace note


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R R@ @ @ @


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SQ @ @ @ @


R R@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

R R@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

DR R@ @

LESSON-THIRTY- FOUR

LESSON-THIRTY-FOUR

LESSON-THIRTY-FIVE



49



Step One: D Doublings: Adding the G grace note


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Step Two: D Doublings: with G, E grace note


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U U@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

U U@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

DU U@ @

LESSON-THIRTY-SIX

LESSON-THIRTY-SEVEN



50



Step One: E Doublings: Adding the G grace note


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Step Two: E Doublings: with G, F grace note


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XX@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

XX @ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

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LESSON-THIRTY-EIGHT

LESSON-THIRTY-NINE



51



Step One: F Doublings: Adding the G grace note


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G G@ @ @ @


G G@ @ @ @


G G@ @ @ @


G G@ @ @ @


G@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)



DG G@ @



Step Two: F Doublings: with G, G grace note


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\] @ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

[[@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

[[@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

D[ [@ @

LESSON-FORTY

LESSON-FORTY-ONE



52



High G Half Doublings: on the scale with pointing


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^ ^@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

^ ^@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

^ ^@ @ @ @This High G half doubling is also known as a Throw on High G. The emphisis is on creating a clean G grace note to F.

So from Low G lift the top hand off the chanter to form High G then close the G finger to F. The High G melody note must sound before the the F then close the grace note sharply finishing on F. Remember to lift the small finger off while working on the top hand.

LESSON-FORTY-TWO



an 1 an 2 an 3 an 4 an 5 an 6 an 7 an 8




53



Half Doublings from High G with High A grace notes on the scale


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Y V@ @@ @Written with PiobMaster (Ceol Mor Software Ltd.)

S P@ @@ @Written with PiobMaster (Ceol Mor Software Ltd.)

JM @ @@ @In the first eight bars from the High G melody note, close to the first grace note cleanly and then sound the echo or second grace note sharply ending up on the melody note. There must be a gap between grace notes. The second eight bars have a High A or back grace note, which takes you down to the melody/grace note, IE the second grace note. The back grace note be played cleanly, keep the echo grace note gap.

LESSON-FORTY-THREE







54



Step one: High A with High G hit, pointing


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GG@ @ @ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

GG@ @ @ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

GG@ @ @ @ @ @ The aim of this exercise is to develop a technique to produce the perfect High A hit or slur. The above diagram can be used to move to all notes from High A thus ensuring clean playing before beginning the hit exercise. To ensure that all melody notes are clean, sound the High A melody note and move to the next note without catching, i.e. Low G. Do this slowly at first to ensure cleanliness.

The priority note is the note you are going to and not the note you have just left. Do this for the whole exercise and listen to the soft clear sound of each melody note. This time include the G hit in-between the High A melody notes. Dragging the thumb on its edge across the hole once so that it sounds High G momentarily and sharply. Now add the pointing, hold the last note in the group, beat and cut the first High A in the next group with the hit on the held High A.

LESSON-FORTY-FOUR



55



Step Two: High A Half Doublings: on the scale, pointing


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`` @ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

`` @ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

` `@ @ @ @ This movement is very much identical to diagram 39 which is an open High A strike or hit. This is a High A grace note followed by an High G grace note which has a tighter feel to it but play it slowly to start with and keep the grace notes open. Beat on the first High A. This movement is normally referred to as a High A doubling.

LESSON-FORTY-FIVE



56



Half Doublings from High A


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NK @ @@ @Written with PiobMaster (Ceol Mor Software Ltd.)

Q T@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

W Z@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

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Do not to be in any hurry to tighten the space between the two grace notes, but keep the grace notes themselves tight.

LESSON-FORTY-SIX



57



C and B Doublings Exercise


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R R GG @ @@ @Written with PiobMaster (Ceol Mor Software Ltd.)

GO O G@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

R R GG@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

OO G G@ @ @ @ These doublings initially can be played open and beating each grace note to get the flow of the movement. Play each beat grace note group evenly as in one, two, three. Doublings must be balanced in a tune to fit with timing. Doublings must mirror each other, irrespective of melody tempo. To play as written, the grace notes are played evenly but the notation values change to cut and hold. This means that the doubling are played tighter together along with the cut note while the E grace note is played on the held note. Remember to keep melody and grace notes clean and tight. These movements are used in Strathspey playing.

LESSON-FORTY-SEVEN



58


Practical Diagram 431st part open grace notes, 2nd part closed doublings as w ritten

All Doublings Exercise


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G G GG @ @@ @


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D DG GWritten with PiobMaster (Ceol Mor Software Ltd.)

D DX\Written with PiobMaster (Ceol Mor Software Ltd.)

U DRDWritten with PiobMaster (Ceol Mor Software Ltd.)

O D DIDL The G grace note as in most exercises is used as a transfer grace note from one beat to another and must be clean. As seen above, the G grace note precedes most of all these doublings with the echo grace notes being different from D melody up to High A and return to D

LESSON-FORTY-EIGHT



59

INTRODUCTION TO THE BIRL The birl is one of the hardest movements to master and will take effort and agility to achieve. It is possibly the loveliest sounding movement we have when done correctly. The birl has three styles of playing: the double slur, the tap and drag and the double hit. The birl that I teach is the double slur, which provides better control over the movement. The double slur is momentarily sounding of two Low G between two Low A’s.

First, set the little finger down onto the chanter, between the B finger and Low A hole.

Secondly, push your little finger away from you across the Low A hole. This is an unnatural thing to do as you must be able to stretch the little finger sideways from your hand clearing the hole. This momentarily sounds Low G. Do not lift the little finger off the chanter at this point.

Thirdly, return the little finger across the Low A hole by pulling it back to its start position above the Low A hole, momentarily sounding the Low G for a second time. Once you have cleared the Low A hole curl the little finger towards the palm of the hand.

This is probably more for show. This move is similar to drawing a number seven from the bottom up. Avoid excessive hand movement while executing the birl, as this will produce squeaky noises if the other holes are not properly covered. Only the little finger should move so practise the stretch between little finger and hand. It will become easier as time passes.

All Birls start with the Low A grace note whether playing from Low G or High A. Beat on the first melody note Low A, beat the first Low G grace note slur to the next Low A on the return of the little finger beat Low G grace note ending up on Low A Melody note. I use the American Indian dance rhythm to explain the birl. i.e. Hay-um-bum-bum:

Hay stands for Low A melody beat.

Um-bum stands for first Low G to Low A beat.

And bum stands for second Low G to Low A beat. The notes should be played slowly and evenly. Beat each grace note in this movement so that it becomes even. Then eventually tighten up and beat on the cut melody note. You then should have a nice ripple sound to the birl. The adding of a G grace note enhances the Birl movement.

Sound the G grace note on Low A, slide the little finger down across the Low A hole sounding Low G.

Now on Low A, return across the Low A hole again sounding Low G.

As the little finger crosses the hole, pull the finger towards the palm of the hand to complete the movement.

The G grace note and Low A must sound as part of the birl otherwise, you have it in two parts and does not flow. Beat each grace note in this movement so that it becomes even. Eventually tighten up and beat on the G grace note, should produce a nice ripple effect.

LESSON-FORTY-NINE



60



Birls on the Scale


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hh@ @ @ @


hh@ @ @ @


hh@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)



hh i E@ @ @ @



Birls on the Scale: with G grace note


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g gEg@ @ @ @


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hh@ @ @ @


h hG@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

gg@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

gg@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

Eg gg@ @ @ @

LESSON-FIFTY



61

INTRODUCTION TO THE GRIP The grip consists of a D grace note or in one case a B grace note framed by two Low G’s grace notes. Ideally, the three grace notes are the same value and the beat is on the first melody note, but not always. The points to master are from Low G grace note to E melody note. Remember the priority note, in this case it is E, so the E must come off the chanter just ahead of the Low A finger. If not, the Low A appears in front of the E giving an unclean sound. If that occurs, you’ve just sounded Low G, Low A and E. We don’t need the Low A sounding at all but the Low A finger, once you have played E, must be off the chanter. This problem is compounded from other notes on the top hand. The grip is a varied and versatile movement and must be executed well. Step one introduces the D grace note into the melody notes by adding D and Low G grace notes. Beat all notes evenly to start with ensuring the D grace note is right in the middle of the Low Gs then a clean E. Step two introduces the B grace note into the melody notes by adding B and Low G grace notes. The rhythm of the movement is one, two, three, four.

One is the note on the scale

Two is the Low G.

Three is the D grace note and Low G. The second Low G is part of the D grace note.

Four is the E melody note.

The Low G is divided by the either a D or B grace note. Beat each note including the both D and B grace note to get the correct balance. The first Low G and D grace note written as grace notes must be played as grace notes, so hold the first melody note and play the three grace notes evenly up to E melody note. Play them slowly at first. The Low Gs are written as grace notes but are in fact played as short melody notes and the only actual grace note is D or B, so the D or B grace note must be kept clean and distinct without cutting or deleting the first Low G grace note. Master the beat on the first note in each group, as this movement must be balanced. B grace note, is even more difficult to finger. It is played by sounding Low G, lifting the B finger off and returning it back on to the chanter. This finger does not have its own muscle and tends to rely on the fingers either side of it for movement, so plenty of practice is required to sharpen it up. Step three is the grip movement as written on the manuscript. To play this exercise, the G grace note is the beat note, which is the same value as the E. You must therefore practise with control and correctness. The grip beat is some times used on the first Low G grace note; again, this will have to be practiced.

LESSON-FIFTY-ONE



62



Grips: (Leumluath) on the scale: D grace notes


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Gc cG @ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

G G cd@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

G Gc c@ @ @ @



63



Grips: using B grace notes exercise


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G G� �@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)



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LESSON-FIFTY-TWO



64

INTRODUCTION TO THE TAORLUATH The Taorluath movement is one step up from a Grip with an E grace note added from Low G to Low A. The taorluath consists of a D grace note or in one case a B grace note framed by two Low G’s and E grace note on the bottom hand melody note. Ideally, the four grace notes are the same value and the beat is on the first melody note. The points to master are from Low G, E grace note to Low A. Remember the priority note. In this case, the E grace note sounds just before the Low A. The E must come off the chanter just ahead of the Low A finger. If not the Low A appears in front of the E grace note gives an unclean sound. If that occurs you have sounded Low G, Low A and E. We don’t need the Low A sounding before the E grace note but the Low A finger once you have played an E grace note must be off the chanter.

Step one introduces the E grace note to the melody note. Play these even and slowly and concentrate on Low G, E, grace note to melody notes. Beat all notes slowly and evenly to start with, remembering the priority note. Beat all notes evenly ensuring the D grace note is exactly in the middle of the Low Gs, then a clean E grace note to the melody note. The rhythm of the movement is one, two, three, four.

One is the note on the scale.

Two is the Low G.

Three is the D or B grace note and Low G.

Four is the E grace note to the melody note. The second Low G is part of the D grace note. The Low G is divided by the D grace note. Beat each note including the D and E grace note to get the correct balance. The first Low G, D and E grace note written as grace notes must now be played as grace notes, so hold the first melody note and play the three grace notes evenly up to the melody note. Play them slowly as first. The Low Gs are written as grace notes but are in fact played as short melody notes and the only actual grace notes are D and E so the D and E grace note must be kept clean and distinct without cutting or deleting the first Low G grace note. Master the beat on the first note in each group, and this movement must be balanced. Notice in bar two, the grip from D is played with a B grace note, this is even more difficult to finger. It is played by sounding Low G, lifting the B finger off and back on to the chanter. This finger does not have its own muscle and tend to rely on the fingers either side of it for movement, so plenty of practice is required to sharpen it up.

Step two is the taorluath movement as written on the manuscript. To play this exercise the G grace note is the beat note, which is the same value as the E grace note. You must therefore practise with control and correctness. There will be occasions when the beat will be played on the first Low G grace note of the taorluath.

LESSON-FIFTY-THREE



65



Taorluath: Basic melody with E grace note


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66



Taorluath on the scale: grace notes


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GG e e@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

GG e f@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

GG e e@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

DG e e@ @

LESSON-FIFTY-FOUR



67



Themals on the scale


/





DG G@ @ This movement is not a grace note hit but a slur. The slur is a momentary touch on the Low G ending on Low A. This movement is constructed by sliding your little finger away from you and

crossing the Low A hole, momentary touching on the Low G and returning to Low A quickly.



Tachums: on the scale


/


G G G G@ @@ @Written with PiobMaster (Ceol Mor Software Ltd.)



G G G G@ @@ @ The Tachum is played as it sounds: tach-um. The tach being the cut note and the um being the held note. Both grace notes must be played clean and sharp. This does not mean that they are played so tightly together

that you cannot hear them. Sound the grace notes as individuals. The D grace note must be clean from C to the melody note. Practice the D grace note as an open D to keep it clean and then tighten it

LESSON FIFTY-SIX

LESSON FIFTY-FIVE



68



Tachums exercise: for Reel playing


/-


FGWritten with PiobMaster (Ceol Mor Software Ltd.)

G G G G G G G G@ @ @ @ @ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)



G G G G G G G@ @ @ @ @ @ @



Triplings on the scale


>3

Written with PiobMaster (Ceol Mor Software Ltd.)Written with PiobMaster (Ceol Mor Software Ltd.)

>3


>3


>3


>3


>3


>3


>3


>3


>3


>3


>3


>3


>3


>3


>3


/


G G@ @ @@ @ @


G G @ @ @@ @ @


G G @ @ @@ @ @


G DG@ @ @


GG @ @ @@ @ @




G DG@ @ @Triplings are three notes played in the time of two. The tie bar across the top of the melody notes represents this. These notes are played evenly. Beat on the G grace note, being the first note of the three. The eight bars are of continues note sounds only broken up by the steady beat.

LESSON FIFTY-SEVEN

LESSON FIFTY-EIGHT



69


Practical diagram 54Pointing - cut f irst note - hold second note.

G D E Grace note, Tripling and Doubling exercise


>3


>3


/


RR G G@ @@ @


O GO G @ @@ @


G R G@ @ @ @ @


G O G@ @ @ @ @


G G G R G@ @ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

G G G O G@ @ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

G G RG @ @ @ @ @


OG G@ @ @ @ @

These movements are used in Strathspeys. Keep the melody slow and gradually tighten up on the grace notes so that the centre grace note in the

doubling sounds as tight as the grace note either side. The Triplings and G, D and E grace notes should be played evenly.



Crunluath on the scale


/


G G” ”@ @@ @


G G” –@ @ @ @


G G” ”@ @ @ @


G ” ”@ @ @ @


G” ”@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

G G” ”@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

G G ”– @ @@ @Written with PiobMaster (Ceol Mor Software Ltd.)

G G” ”@ @ @ @

The crunluath is based on the toarluath with two added grace notes E to Low A and followed by F grace note. The reason that I have included the crunluath, it makes the taorluath seam easy.

LESSON-FIFTY-NINE

LESSON-SIXTY



70

LESSON-SIXTY-ONE

INTRODUCING STRIKES: Strikes are another way, besides grace notes, of separating two notes of the same pitch. Such tools are necessary because pipers cannot ”tongue” or stop the sound of their chanter. Strikes are played on any note. They can be almost anywhere relative to the beat: on it, after it, or on the off beat.

PRACTICAL DIAGRAMS: 56 TO 62.

The first eight bars are written so all notes are practised open and clean. Beat if necessary on each note. First two notes are quavers and are played evenly followed by the strike. Beat on first note in the group. Second eight bars are three quavers with the first note held, second is cut with a G grace note and the strike. Beat on first note in the group. Third eight bars are written as normal. The first note is cut, beat on first note in group, with the strike movement on the held note except for diagrams 61 and 62 having no third part.

B STRIKE:

Sound B, then close both Low A and B fingers together on to the chanter closing to Low G. Both fingers move together so each note is sounded cleanly. Hit the strike accurately, that is both fingers must tap and leave the chanter at the same instant. Do not sit on the Low G: strike it and bounce off it again. Priority closing is, Low A finger closes first followed closely by the B finger, these shapes apply to all strikes

C STRIKE:

Sound C, then close both C and B fingers together on to the chanter closing to Low G. Both fingers move together so each note is sounded leanly. Hit the strike accurately, that is both fingers must tap and leave the chanter at the same instant. Do not sit on the Low G: strike it and bounce off it again.

D STRIKE:

Sound D, then close all D, C and B fingers together on to the chanter closing to Low G. Both fingers move together so each note is sounded cleanly. Hit the strike accurately, that is all three fingers must tap and leave the chanter at the same instant. Do not sit on the Low G: strike it and bounce off it again. The second way of playing a D strike, instead of closing to Low G, close to C which one finger moves instead of three. This method is prefered.

E STRIKE:

Sound E, then close the E finger on to the chanter closing to Low A. Each note is sounded cleanly. Hit the strike accurately. Do not sit on the Low A: strike it and bounce off it again.

F STRIKE:

Sound F, then close F finger on to the chanter closing to E. Each note is sounded cleanly. Hit the strike accurately. Do not sit on the E: strike it and bounce off it again. Be careful not to hit the E finger as well.

HIGH G STRIKE:

Sound High G, then close High G finger on to the chanter closing to F. Each note is sounded cleanly. Hit the strike accurately, Do not sit on the F: strike it and bounce off it again.

HIGH A STRIKE:

This is the same as High A adding High G Hit, diagram 39.



71



B Strikes on the scale


/


DG GD@ @ @ @


D DG G@ @ @ @


D DG G@ @ @ @


D DG G@ @ @ @

/


D DG G@ @ @ @


D DG G@ @ @ @


D DG G@ @@ @


DGDG@ @ @ @

/


GG GG @ @ @@ @ @


G GG G@ @ @ @ @ @


G GG G@ @ @ @ @ @


G GG@ @ @ @ @ @

/


G GG@ @ @ @ @ @


G GG G@ @ @ @ @ @


G GG G@ @ @ @ @ @


GG G G@ @ @ @ @ @

/


s s@ @ @ @


s s@ @ @ @


ss@ @ @ @


t¹@ @ @ @


t ¹@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

s s@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

s s@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

ss @ @@ @



72



C Strikes on the scale


/


D DG G@ @ @ @


DGDG@ @ @ @


D DG G@ @ @ @


D DG G@ @ @ @

/


D DG G@ @ @ @


D DG G@ @ @ @


D DG G@ @@ @


D DG G@ @@ @

/


G GG G@ @ @ @ @ @


GGG G@ @ @@ @ @


G GG G@ @ @ @ @ @


G GG@ @ @ @ @ @

/


G GG@ @ @ @ @ @


G GG G@ @ @ @ @ @


G GG G@ @ @ @ @ @


G GG G@ @ @ @ @ @

/


¸ ¸@ @ @ @


¸¸@ @ @ @


¸ ¸@ @ @ @


º ¶@ @ @ @


º¶@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

¸ ¸@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

¸¸@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

¸ ¸@ @ @ @

LESSON-SIXTY-TWO



73



D Strikes on the scale using C grace note


/


DDG G@ @ @ @


DDG G@ @ @ @


GDG D@ @ @ @


DDG G@ @ @ @

/


DDG G@ @ @ @


DDG G@ @ @ @


GDG D@ @ @ @


DDG G@ @ @ @

/


G GG G@ @ @ @ @ @


G GG G@ @ @ @ @ @


GGG G@ @ @ @ @ @


G GG@ @ @ @ @ @

/


G GG@ @ @ @ @ @


G GG G@ @ @ @ @ @


GG G G@ @ @ @ @ @


G GG G@ @ @ @ @ @

/


p p@ @ @ @


p p@ @ @ @


pp@ @ @ @


» b@ @ @ @


b »@ @@ @Written with PiobMaster (Ceol Mor Software Ltd.)

p p@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

pp@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

p p@ @ @ @

LESSON-SIXTY-THREE



74



D Strikes on the scale using Low G grace note


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DDG G@ @ @ @


DDG G@ @ @ @


D DG G@ @ @ @


DDG G@ @ @ @

/


DD GG@ @ @ @


DD GG@ @ @ @


D DGG@ @ @ @


DD GG@ @ @ @

/


G GG G@ @ @ @ @ @


G GG G@ @ @ @ @ @


G GG G@ @ @ @ @ @


G G G@ @ @ @ @ @

/


GG G@ @ @ @ @ @


G GG G@ @ @ @ @ @


G GG G@ @ @ @ @ @


G GG G@ @ @ @ @ @

/


q q@ @ @ @


q q@ @ @ @


q q@ @ @ @


r ·@ @ @ @


r· @ @@ @Written with PiobMaster (Ceol Mor Software Ltd.)

q q@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

q q@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

q q@ @ @ @

LESSON-SIXTY-FOUR



75



E Strikes on the scale


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DDG G@ @ @ @


DDG G@ @ @ @


DG DG@ @ @ @


DDG G@ @ @ @

/


DDG G@ @@ @


DGDG@ @ @ @


GG D D@ @ @ @


D DGG@ @ @ @

/


G GG G@ @ @ @ @ @


G GG G@ @ @ @ @ @


GG GG@ @ @ @ @ @


G GG@ @ @ @ @ @

/


G GG@ @ @@ @ @


GGG G@ @ @ @ @ @


G GG G@ @ @@ @ @


GGG G@ @ @@ @ @

/


oo@ @ @ @


oo@ @ @ @


oo@ @ @ @


G G G G G@ @ @ @


G G G G G@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

oo@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

oo@ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

o o@ @ @ @

LESSON-SIXTY-FIVE LESSON-SIXTY-FIVE



76



F Strikes on the scale


/


D DG G@ @ @ @


D DG G@ @ @ @


D DG G@ @ @ @


DG DG@ @ @ @

/


DG G D@ @ @ @


D DG G@ @ @ @


D DG G@ @ @ @


DD GG@ @ @ @

/


G GG G@ @ @ @ @ @


G GG G@ @ @ @ @ @


G GG G@ @ @ @ @ @


GG G @ @ @@ @ @


G G G@ @ @@ @ @


G GG G@ @ @@ @ @


G GG G@ @ @@ @ @


GGG G@ @ @@ @ @

LESSON-SIXTY-SIX



77



High G Strikes on the scale with back grace notes


/


DDG G@ @ @ @


DDG G@ @ @ @


DDG G@ @ @ @


DGDG@ @ @ @

/


DGDG@ @ @ @


DDG G@ @ @ @


DDG G@ @ @ @


D DG G@ @ @ @

/


G GG G@ @ @@ @ @


G GG G@ @ @ @ @ @


G GG G@ @ @ @ @ @


GGG @ @ @@ @ @


GG G@ @ @ @ @ @


G GG G@ @ @ @ @ @


G GG G@ @ @ @ @ @


G GG G@ @ @ @ @ @

LESSON-SIXTY-SEVEN



78



High A Strikes on the scale


/


D DG G@ @ @ @


D DG G@ @ @ @


D DG G@ @ @ @


DDG G@ @ @ @

/


DG DG@ @ @ @


D DG G@ @ @ @


D DG G@ @ @ @


DDG G@ @ @ @

/


G G@ @ @ @ @ @@ @ @ @


G G@ @ @ @ @ @@ @ @ @


G G@ @ @ @ @ @@ @ @ @


G G@ @ @ @ @ @@ @ @ @


G G@ @ @ @ @ @@ @ @ @


G G@ @ @ @ @ @@ @ @ @


G G@ @ @ @ @ @@ @ @ @


G G@ @ @@ @ @@ @ @ @

LESSON-SIXTY-EIGHT



79

THEORY TO COVER EARLY TUTITION

SOUND:

Vibrations are the cause of sound.

NOISE:

Noise is audible to the ear, irregular in sound, not constant, confused and discordant and not making any sense at all.

MUSIC:

Music is audible to the ear, regular in sound, constant and pleasing to the ear. Musical sound is the result of regular and periodic vibrations of air.

EAR:

The ear has the capability of recognising different sounds at different levels.

THE STAVE OR STAFF:

In bagpipe music notation, the stave consists of five parallel lines: E, G, B, D, F, and four spaces between them: F, A, C, E. The lines and spaces are read from the bottom up. Take note that we do not use the first or E line or the First F space in pipe music.

LEDGER LINE:

The ledger is the short line above the stave on which the High A is positioned. Below this ledger line will also create another space on which the High G is positioned.

TREBLE OR G CLEF:

The G clef is the curved sign at the beginning of the stave. The G clef indicates where to fix the absolute pitch of notes upon a stave, from which all pipe music is written. The tail of the G clef is positioned on the Low G line of the stave: this is the first note we use when we read up the stave.

SINGLE BAR LINES:

The single bar lines are the fine vertical lines that divide up the stave enabling the melody to be divided into logical bite size pieces. They also separate the music into four or eight bar parts. These single bar lines equally divide the number of beats.

BARS:

Bars are the area between the fine vertical bar lines on the stave on which the melody notation is placed.

DOUBLE BAR LINES:

The double bar lines are the two short thick lines vertical to the stave. They can be found after the time signature and at the end of the last bar to indicate the beginning or termination of a section of movement.

NOTATION:

Notation is the name given to the visual system of representing various sounds. These sounds are represented on the stave using the lines and spaces. Stave notation is the placing of the various relative duration notes, or symbols, on a series of lines and spaces. In piping, the notes of the melody have large heads with their tails pointing down across the stave and are written on these lines and spaces. The smaller headed notes with their tails rising up across the stave are called grace notes, which are also written on the lines and spaces to denote their pitch .

LESSON-SIXTY-NINE



80

PITCH:

Pitch is the height and depth of sound. The notes take their names from the lines or spaces on the stave where they are placed and are used to denote relative pitch and duration.

VISUALLY:

The two visual characters of pitch are length or duration (value of a note) and the height or depth (pitch of a note) or where the note is placed on the stave. Stave notation represents these. Often referred to as the pitch ladder, or stave, showing the modification of pitch. For example, written music on a music score.

DEGREE OR INTERVAL:

A degree, or interval, is the distance in pitch between any two musical sounds. For example A and B, B and C, and so on.

VOLUME:

The bagpipes operate at a high decibel value and with continuous sound.

TIME SIGNATURE:

Immediately after the G clef sign, at the beginning of a piece of music, is another sign called a time sign or time signature. This gives information about the music.

BEAT:

A beat is one of the main divisions of a bar or measure. When beating out the time of the music, with the finger on a tabletop, hold the beat to the value of that note. Thus with the finger, beat on the table, and as the finger hits the table hold it in that position until the next beat occurs then move quickly to create the next beat. This will give value to that note. Do not raise the finger in anticipation of the beat. The finger remains on the table until the next beat.



81


Theory diagram 64

Note Values


/


B

/


C


C

/


DD


DD

/


@ @ @ @


EE E E

/


@ @ @ @@ @ @ @


@ @ @ @@ @ @ @


FF F F


FF F F


@ @ @ @ @ @ @ @@ @ @ @ @ @ @ @@ @ @ @ @ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

@ @ @ @ @ @ @ @@ @ @ @ @ @ @ @@ @ @ @ @ @ @ @Written with PiobMaster (Ceol Mor Software Ltd.)

G G G G G G GGWritten with PiobMaster (Ceol Mor Software Ltd.)

G G G G G GGG

LESSON-SEVENTY

SEMI BREVE WHOLE NOTE

MINIM 12 NOTE

CROTCHET 14 NOTE

QUAVER 18 NOTE

SEMI QUAVER 116 NOTE

DEMI SEMI QUAVER 132 NOTE

A STRUCTURED APPROACH TO HIGHLAND BAGPIPE TUITION … MOSSAT COLLECTION TUTOR BOOK.pdf · 2017. 5....

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