Piobaireachd | ||
Tunes |
Set Tunes |
2015 Set
Tunes
The Piobaireachd Society recommends the following lists of tunes for competitions in 2015 |
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A. SENIOR COMPETITION | ||
Lament for Donald Ban MacCrimmon | PS 2 , K | |
Lament for the Duke of Hamilton | PS 3 , K | |
Lament for the Children | PS 3 , K | |
John Garve MacLeod of Raasay's Lament | PS 5 , K | |
Lament for the Earl of Antrim | PS 3, K | |
Mrs MacLeod of Talisker's Salute | PS 11 | |
MacLeod of Colbeck's Lament | PS 10 | |
Patrick Og MacCrimmon's Lament | PS 3, K | |
Competitors will submit four of the above tunes, one of which they will be required to play. | ||
B. GOLD MEDAL COMPETITION | ||
Competitors will submit eight tunes of their own choice, one of which they will be required to play. | ||
C. SILVER MEDAL COMPETITION | ||
Competitors will submit six tunes of their own choice, one of which they will be required to play. | ||
PS = Piobaireachd Society Collection K = Kilberry Book of Ceol Mor Competitors are not restricted to settings in the Piobaireachd Society Collection and Kilberry Book. Those who wish to play alternative settings should submit legible scores, indicating the origins of the settings, to competition organisers along with their tune selections. This announcement is made by the Piobaireachd Society to ensure earliest
publication. It is without prejudice to any arrangements made by either the
Argyllshire Gathering or the Northern Meeting. For the Music Committee
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Senior Set Tunes – 2015 Notes from previous judges’ seminars. Lament for Donald Ban MacCrimmon PS2, K Lament for the Duke of Hamilton PS3, K This tune requires a good top hand. The similarity between the ground and the first and second high G variations was noted, and it was felt that the second high G variation should be played considerably faster than the first. In bar 5 lines 1 & 2 and bar 3 line 3 the low G in the second half of the bar might be played long, to balance with the earlier low As, or short as written. In bar 4 line 2 the cadence E (marked 7 in PS 3) can be played long, with the cadence E (marked 4) played shorter. The suibhal variation may be played ‘up’ or ‘down’. Lament for the Children PS3, K Various differences in settings are possible. In particular, John MacDonald’s (and RU Brown’s) last bar of line 2 of the ground, with a G grace note on the F before high G, instead of on the E, appears only in Binneas is Borreraig and not in the other usual sources. Similarly, the high G grace note on the last B in the last bar of variation 1 instead of the GED cadence. Kilberry’s ‘Sidelights’ contains an extensive note on different styles. John Garve MacLeod of Raasay’s Lament PS5, K The attractions of the Donald MacDonald version of the tune were compared to
Angus Mackay’s setting. While it is accepted that, in Mackay’s setting, the
first line need be played only once, it was recognised that repetition of the
line probably represented the correct form of the tune. Lament for the Earl of Antrim Variation 1 is sometimes played in 5/4 timing, that is, with a full crotchet
for the second E. Different timings might be heard in variation 3, for example
distinct couplets or a more even treatment. Mrs MacLeod of Talisker’s Salute PS11, K MacLeod of Colbeck’s Lament Lament for Patrick Og MacCrimmon “The Lament for MacLeod of Colbecks” – John MacKay, Raasay Sources: Angus MacKay 1838 p149, Ceol Mor 1893 P163, David Glen MS, Piobaireachd Society Collection, Book 10, p 292, Binneas is Boreraig . All of these settings are very similar, with minor differences. Angus MacKay has an error in the 10th bar of the first line of the ground, first note D, which should be B. Ceol Mor has a similar error in the same place, except here it is a C which should be a B, and this is repeated in the corresponding places where the phrase re-occurs in the ground. Binneas has no G grace note on the second C in bar one of the ground. This grace note appears in Angus MacKay and the PS. There are differences in time signatures (2/4, 4/4) in the triplet variations amongst these settings, although this would not affect the style in which these would be presented. It is unlikely that competitors would present anything else other than the published Piobaireachd Society setting. The other settings are essentially the same with minor notation errors. Stylistically, interpretations are likely to be quite similar. The ground is fairly straightforward, although it is quite possible that players will experiment with the timing of the B and C quavers in bar nine, they are written the same but could easily be played with emphasis on either the B or the C or even as written. Most likely, players will play the cadences in the ground and also the variations with the emphasis on the first note, although some would play these as even, which would be perfectly acceptable. It is quite possible that more significant stylistic differences may be heard
in the presentations of variation one. Most players now copy the style
attributed (I believe) to Malcolm R MacPherson of Invershin, that is treating
the first two notes of the second bar of each phrase as even, thus creating a
run-up effect to end each phrase. It would be quite acceptable to hear the
variation as it is written, although in the present day this would be the
exception rather than the rule. I have heard Malcolm MacRae, P/M Brian
Donaldson, and P/M Donald MacLeod all play it this way written in the PS
setting. The tune was composed by John MacKay, Raasay. It was composed for John MacLeod whose father, also John, emigrated to Colbecks in Jamaica in the mid 1700’s, and who made his fortune as a planter, having an estate at Colbecks. (The MacLeod’s – Genealogy of a Clan, pp 15-16). Colbecks is a small community situated some 30 kms east of the capital city, Kingston. Colbecks Castle was built in 1680 by the English as a defence against Spain and now stands as a ruin. It is interesting to note that it appears that the place was actually called Colbecks, and not Colbeck, so the more correct title for the tune might be “The Lament for MacLeod of Colbecks”.
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