Pibroch - Knowledge

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fiddle pibroch repertoire on the violin, viola and cello with outcomes that are notable for their expressive musicality. Pine is a classically trained violinist who has recorded music by late 19th-century composers such as Max Bruch and Alexander "Pibroch" MacKenzie that incorporated Scottish fiddle repertoire into extended classical works. Granville Bantock is another classical composer who drew on pibroch, reworking "MacIntosh's Lament" for the composition "Pibroch, a Highland Lament for cello and harp" (1917). Pine's live repertoire includes revived fiddle pibroch compositions such as "MacIntosh's Lament" and "Pibroch."

1758:, staff notation and through the training of students. These ornate and highly musical pibrochs predate the standardisation of the music by the Pìobaireachd Society. Melbourne-based piper Dr Barrie Orme, who was trained in a lineage traceable back to Simon Fraser, has documented this parallel body of around 140 pibroch through tutor publications, a six volume series of archival recordings of the Simon Fraser pibroch repertoire, and a DVD video demonstrating the performance techniques passed down to Orme by his teacher Hugh Fraser, Simon Fraser's son. 6156:, on PaulDooley.com website. A plausible reconciliation of these positions is that the early Cerdd Dant genre developed on the aristocratic precious metal wire-strung harp during a period of close contact with Ireland in the early Middle Ages and shifted to the more modest bray harp, with its own distinctive resonant characteristics in the late Middle Ages in response to diminished patronage following the collapse of the indigenous Welsh aristocratic cultural order, preceding similar changes in Ireland and Scotland. 1525:) from Kintyre, was a noted poet, wire-strung harper and piper, reportedly attached to MacDonald of Largie in 1745. In correspondence regarding McMurchy's collection of Gaelic poetry that was passed to the Highland Society, Duncan Stewart of Glenbuckie, Argyle's Chamberlain in Kintyre, commented that "The eldest of them (the McMurchy brothers) William who was a great genius put all the pibroch and many highland airs to music." McMurchy may well then have been one of the key transcribers of pibroch. 6821:. Free web resources for contemporary Ceol Mor revival performance practice and research. The site is making available downloadable copies of all of the significant early pibroch manuscripts from the 18th and 19th centuries, including the Campbell Canntaireachd vol 1 and 2, the Gesto Canntaireachd, and the early staff notated pibroch manuscripts that predate the edited and standardised versions of modern pibroch published by Angus MacKay and authorised in the Piobaireachd Society books. 2356:/Rory O Moor, King of Leix's March" notated by Edward Bunting from the repertoire of Irish wire-strung harpists in the late 18th century. Allan MacDonald has played and recorded these two closely related compositions as a bagpipe medley, with the harp tune informing his revisions of the standard pibroch settings. He has also performed an arrangement of this medley with an ensemble of Irish musicians on modern instruments for the BBC documentary 1587:"Thy chanter's shout gives pleasure, Sighing thy bold variations. Through every lively measure; The war note intent on rending, White fingers deft are pounding, To hack both marrow and muscles, With thy shrill cry resounding... You shamed the harp, Like untuned fiddle's tone, Dull strains for maids, And men grown old and done: Better thy shrill blast, From gamut brave and gay, Rousing up men to the destructive fray..." 4895:(The Death of Alasdair)/McAllistruim's March" are Irish harp compositions with Scottish associations that share similar characteristics to pibroch themes. "The Harper's Land (Hi ri ri ri ho)" is a possible harp tune with a vocable title collected by Oswald that consists of a recurring theme and two variations. Kinnaird plays a modern lever harp and Ann Heymann plays a replica early Irish wire-strung clairseach harp. 1236:

provide a resource for the reconstruction of key aspects of this musical culture. A significant body of wire-strung harp compositions and related performance practices were notated from the last of the Irish wire-strung harpists by Edward Bunting in the late 18th century. Documentation of the Scottish wire-strung harp repertoire can be found through tunes that were transcribed to other instruments such as the

1704:. He also specified regular time signatures that standardised and regulated a music that was traditionally performed with expressive rubato rhythmic interpretation of the musical phrasing and dynamics. MacKay's staff notated edited version of pibroch became the authoritative reference for the 19th- and 20th-century revival of pibroch, and greatly influenced subsequent modern pibroch performance. 1140:. The prominence of the MacCrimmon Pipers coincides closely with the legislation designed to curb the importance of the Clan Bardic Harpists (Clarsairs). These laws known as The Statutes of Iona of 1609 are significant in reducing the role of the Clarsach and elevating the Piobh in importance. This suggests a deliberate adoption of older Harp tunes onto the Great Highland Bagpipe. 1865:(Music of the Pipes) – A Concert of Piobaireachd" documented these performances. At the Edinburgh Festival in 2004 MacDonald arranged the "From Battle Lines to Bar Lines" series of battle pibroch performances on cello (Neil Johnstone), viola, flute, fiddle, wire-strung clarsach (Karen Marshalsay), piano (James Ross), small pipes and big pipes with associated Gaelic songs. 2070:

recorded an arrangement of the early Scottish air "Minstrel of MacDonald" with newly composed pibroch variations. Rideout was commissioned to compose and record a new extended work in the fiddle pibroch form entitled "Kindred Spirits." Scottish violinist Ian Hardie was also commissioned to compose and record the new extended fiddle pibroch "The Highlands of Nairnshire."

4393:, October 2009, School of Piping website. The Cameron and MacPherson schools are traceable back to Donald Cameron, piper to Seaforth and Angus MacPherson, piper to MacPherson of Cluny, who were both pupils of John Mackay (1767–1848), the father of Angus Mackay. Some distinct variations in style and interpretation developed and diverged in the intervening 150 years. 1260:) is a harp tune similar in structure to pibroch with an introductory theme and formal variations. It is reputed to have been composed by the aristocratic wire-strung harper John Garbh MacLean, Laird of Coll, on the execution of Charles the First. The tune was documented and transcribed for the piano by Simon Fraser from repertoire that had survived in his family. 5175:(CD), 2008, Early Garlic Harp Info EGH1. "Lament for the Bishop of Argyll" and "Battle of Hara Law" are transcribed fiddle pibrochs collected by Dow that are likely to have originated on the harp. "Burns March" is a late medieval Irish harp ceòl mór composition collected by Bunting from late 18th-century harpers that had survived as a harp training tune. 1806:

recording new works of pibroch and related musical traditions informed by this research. Barnaby Brown has collaborated with harper Bill Taylor and violinist Clare Salaman on the recording of bagpipe pibroch arranged for the Clarsach wire harp, lyre, hardanger fiddle, hurdy-gurdy, vielle, bone flute, bagpipes and canntaireachd vocals, released in 2016.

1694:, published in 1838, documented and presented the pibroch repertoire in staff notation with supplementary commentary by antiquarian James Logan. MacKay simplified many of the pibroch compositions, editing out complex ornamentation and asymmetries that were evident in documentation of the same compositions published in earlier manuscripts such as the 3415:, Edinburgh: Scottish Gaelic Texts Society, 1970, p. 154-6. The lyrics translate as: "I find it no easier than death to suffer the scorn of women; I may not go near them since my ability to please has failed me. "Of what use can he be?" is what they say. "His instrument has gone out of tune since he lost his harp-key." See also: Alison Kinnaird, 3620:/Book of the Dean of Lismore" c. 1513, compiled by James MacGregor (Seumas MacGriogair), in the Campbell writs for Craignish of 1528 with a piper listed as a witness, and in a legal document from 1541 that records ‘Evano Piper’ (Eoghann) as a witness to a land transaction on behalf of William MacLeod of Dunvegan. See also: "The Bagpipes" in 1098:(1838) included historically fanciful and romantic pibroch source stories by antiquarian James Logan. A number of pibroch collected by MacKay have very different titles in earlier manuscript sources. MacKay's translated English titles became the commonly accepted modern pibroch names, sanctioned by subsequent Piobaireachd Society editors. 1366:

in 1638 detailing that his fiddler John Hay and his harper had injured each other in a fight. The heightened social and cultural status for fiddlers was consolidated by Clan Cummings of Freuchie who became the hereditary fiddlers and subsequently also pipers to the Laird of Grant from the early 17th century until the late 18th century.

1562:"John MacArthur's screeching bagpipes, is like a diseased heron, full of spittle, long limbed and noisy, with an infected chest like that of a grey curlew. Of the world's music Donald's pipe, is a broken down outfit, offensive to a multitude, sending forth its slaver through its rotten bag, it was a most disgusting filthy deluge..." 2013:, played on a replica early Scottish Queen Mary wire-strung clarsach with brass, silver and gold strings. He has recorded a dedicated album of pibroch attributed to the composer Raghnall Mac Ailein Òig (1662–1741) performed on the wire harp, released in 2013. He has also made a body of live performances of pibroch and early Irish 5889:(verse singing) which originated in the 18th century. This was improvised singing over European and particularly Italian baroque influenced Welsh melodies that were largely composed from the 1700s onwards and played on chromatic European triple harps or later modern pedal harps. It has little relationship with medieval or early 2915:)" in Alexander Campbell (Ed), Albyn's Anthology, Vol 2, 1818. Scott's accompanying notes claim that MacCrimmon composed the piece prior to a military raid following a premonition of his own death. Piping "folk-lore" conflates this narrative with an anonymous piper reportedly killed by a small Jacobite ambush force at the 2034:

brass, silver and gold strings, released in 2014. He has made live performances of pibroch and early Irish music on the wire harp available online on video via YouTube. A promising emerging generation of wire-strung harpers and scholars are also disseminating transcriptions of pibroch performed on the harp via YouTube.

2139:("string music"). This genre of Irish influenced medieval Welsh music offers a precedent for Scottish pibroch as an aristocratic extended art music played on the harp with a repeated melodic theme or ground and elaborate formal variations. Welsh Cerdd Dant repertoire from the late-Middle Ages was documented in the 934:. In almost all pibroch in which these later movements are found, the variations are played first as a singling and then as a doubling and with a slightly increased tempo. However, not all pibrochs will include all or even any of these movements but instead use variations that are deemed to be irregular. 4229:

Dr William Donaldson, , www.pipesdrums.com. Donaldson's analysis of the annual set tunes for the Pìobaireachd Society competitions consists of a detailed comparison of the MacKay published versions of each pibroch and all other, often earlier canntaireachd manuscripts and published musical scores for

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2. A comparative demonstration and discussion of the shared characteristics of ornamentation common to pibroch and early Harp playing is provided by Allan MacDonald on this album through the inclusion of the 17th-century composition "Port Jean Lindsay" sourced from the Straloch MS (1627-9) and played

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Paul Dooley has researched and recorded a dedicated album of ap Huw compositions played on a replica early Irish wire-strung clairseach harp. Ann Heymann has researched the ap Huw manuscript with a particular focus on the interpretation of the notation of playing techniques that are comparable to the

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Bonnie Rideout's CD Scotland's Fiddle Piobaireachd Volume 2, produced by John Purser was released in 2012. It features Rideout on fiddle and viola, Allan MacDonald on Highland bagpipes, small pipes, and voice, Barnaby Brown on revived triple pipes, William Jackson on clarsach harp and Matthew Bell on

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Brendan Ring is a multi-instrumentalist all Ireland champion piper, pipemaker, low-whistle player and wire harper. He has recorded pibroch transcribed to the wire harp alongside revived Irish harp repertoire and original compositions, performed on a replica of the Trinity College clairseach harp with

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known as fiddle pibroch developed in this period with melodic themes and formal variations that are similar to, but not necessarily derived from or imitative of concurrent bagpipe pibroch, as the name "fiddle pibroch" might suggest. The two forms are likely to have developed in parallel from a common

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repertoire is likely to have transferred from the harp to the newly developed Italian violin in the late 16th century as fiddlers began to receive aristocratic patronage and supplement the role of the harpers. Evidence of concurrent patronage can be found in a notary report sent to the Laird of Grant

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Barnaby Brown has identified characteristics of the Welsh and by extension Irish medieval harp tunings recorded in the ap Huw manuscript that are also present in Scottish bagpipe tuning. The common source of influence for these shared musical practices is likely to be found in the formal conventions

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that have not been publicly performed for hundreds of years and plays them on replica early bagpipes from the period. He has made his analysis of pibroch canntaireachd, ornamentation and performance techniques available as an online resource with recorded audio demonstrations. Brown is composing and

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comprises theme notes each coupled with a single note of higher or lower pitch that usually precedes the theme note. The theme note is held and its paired single note cut. The timing given to the theme notes is of critical importance in displaying the virtuosity of the master piper. If the theme and

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Bonnie Rideout and Bill Taylor, "Minstrel of MacDonald's", on Hesperus, Celtic Roots (CD), 1999. Maggies Music. Rideout has composed fiddle pibroch variations to this air sourced from the collection of Patrick McDonald (1784), with wire-strung harp accompaniment from Taylor. They then reverse roles

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Barrie Orme, Piobaireachd: Old Settings, vol. 2 (CD), Highlander Music Label, 2008, HPCD302. Simon Fraser sourced pibrochs include: "The Sutherlands' Gathering"; "The Big Spree"; "Glengarry's March"; "Lament For Donald Ban MacCrimmon"; "The Rout Of Glen Fruin"; "Lament For The Earl Of Antrim"; "The

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in Campbell Canntaireachd volume 1, no. 56, 1797, NLS MS 3714. The spelling of this title and many of the Gaelic titles that follow that are sourced from 18th- and 19th-century manuscripts have non-standard Gaelic spelling. In most cases the accurate spelling can be readily deduced, but there are a

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The only composition in the Irish wire-strung harp repertoire similar in structure to ceòl mór that is documented with intact formal variations is "Burns March", notated by Bunting and revived on the wire-strung harp in recordings by Charles Guard, Gráinne Yeats and more recently by Simon Chadwick.

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Allan MacDonald and Iain MacInnes curated the first dedicated pibroch recitals at the Edinburgh Arts Festival in 1999 as a series of nine concerts including performances by Allan MacDonald, William McCallum, Roderick MacLeod, Robert Wallace and Barnaby Brown, who premiered the public performance of

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This is reflected in the patronage offered to a succession of hereditary poets, harpers and subsequently pipers who were retained by leading Clan families, including pibroch dynasties such as the MacCrimmons, pipers to the MacLeods of Dunvegan, and the MacArthurs, pipers to the MacDonalds of Sleat.

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Roderick Cannon has compiled a dictionary of the Gaelic names of pibroch from early manuscripts and printed sources, detailing inconsistencies, difficulties in translation, variant names, accurate translations and verifiable historically documented attributions and dates in the few cases where this

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The staff notation in Angus MacKay's book and subsequent Pìobaireachd Society sanctioned publications is characterised by a simplification and standardisation of the ornamental and rhythmic complexities of many pibroch compositions when compared with earlier unpublished manuscript sources. A number

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Bonnie Rideout is a fiddler who has researched and revived fiddle pibroch repertoire and performance techniques. A number of her recordings feature extended fiddle pibrochs such as "MacIntosh's Lament" and "Marsail Lochinalie." Rideout and early Gaelic and Welsh harper and scholar Bill Taylor have

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Virtuoso violinist and Scottish fiddler Edna Arthur was one of the first musicians to revive fiddle pibroch in performances and recordings with cellist David Johnson in the McGibbon Ensemble. Violinists such as Rachel Barton Pine and Bonnie Rideout are continuing this revival of the performance of

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was traditionally the primary high status aristocratic instrument in Gaelic Scotland and Ireland. The art music performed on the wire-strung harp was passed down through oral transmission and much of the repertoire is likely to have been lost. A diverse range of historical manuscripts nevertheless

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While the conventional accounts of the origins of pibroch are largely characterised by an aggrandising romanticism common to antiquarian appropriations of remnant historical traditions in the late 18th century and early 19th century, there are substantial surviving authentic musical documents that

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is likely to have predated and influenced the later pipe and fiddle music. However, pibroch in its current form was developed on the Great Highland Bagpipe, with most of the extant pibroch tunes being adapted to or written specifically for the GHB, and as a result the musical form is influenced by

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McGibbon Ensemble with Edna Arthur, "Fiddle Pibroch and Other Fancies – 18th century Scottish Violin Music" (Cassette), 1989. Scottish Cultural Heritage SCH002. For related recordings of 18th-century Scottish fiddle variation sets see also: McGibbon Ensemble with Edna Arthur, "Scots Fiddle – High

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Dr William Donaldson, , www.pipesdrums.com. Donaldson's analysis of the annual set tunes for the Pìobaireachd Society competitions consists of a detailed comparison of the published Piobaireachd Society sanctioned versions of each pibroch and all other, often earlier canntaireachd manuscripts and

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The oral transmission of pibroch also survives as a living tradition through diverse lineages of teachers and pupils, traceable back to the earliest accounts of the form. Distinctive approaches to performance technique and interpretation developed through different lineages of pibroch playing and

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There was reportedly a third lost volume of the Campbell canntaireachd manuscripts dating from the late 18th century. The first two volumes were also lost in 1816 but rediscovered in 1907 in the possession of Anne Campbell, a descendant of Colin Campbell. Roderick Cannon and Peter McCalister have

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manuscript appears in MacKay's book with the title "Lament for Patrick Og MacCrimmon". This pattern has led critics of the orthodox accounts of pibroch history such as Alistair Campsie to conclude that the authorship and origins of the pibroch repertoire were reframed for political and Hanoverian

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Bunting's notation for "Glas – A Joining (for the right hand)" indicates a descending sequence on the bass strings of the wire-strung harp, but this is not workable as it does not allow for the dampening of the sustained resonance of the instrument. Ann Heymann argues that a confusion has arisen

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A variety of new pibroch recital performance events have been initiated recently as an alternative format to the more conservative and insular competition circuit. Breton piper Patrick Molard organised the first pibroch recitals in Brest and Paris in 1992. The newly founded Glasgow Piping Centre

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Barrie Orme, Piobaireachd: Old Settings, vol. 1 (CD), Highlander Music Label, 2008, HPCD301. Simon Fraser sourced pibrochs include: "The Bells Of Perth"; "Lament For Patrick Og MacCrimmon"; "The Cave Of Gold"; "The MacFarlane's Gathering"; "The Massacre Of Glencoe"; "The Lament For MacDonald Of

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music on replica historical gut-strung Romanesque harps and late-medieval bray harps. Taylor has published extensive online resources outlining this applied performance-based research. Taylor and Irish wire-strung harpist Paul Dooley discuss and perform demonstrations of the ap Huw music in the

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Karen Marshalsay is a Scottish harper who performed with Allan MacDonald in his 2004 Edinburgh International Festival series of pibroch concerts From Battle Lines to Bar Lines, performing The Battle of The Bridge of Perth and other pibrochs on wire-strung clarsach. She also performed pibroch on

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There is a growing community of harpers performing early Scottish and Irish music on replica early clàrsach harps, strung with brass, bronze and silver wire, and increasingly with precious gold bass strings, based on historical and applied research by Ann and Charlie Heymann and Simon Chadwick.

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As Scottish Gaelic aristocratic patronage and traditions began to break down through political and cultural changes and the ever-increasing influences of European and English cultural values and mores, the role of the wire-strung clarsach harp went into a decline. The patronage of high prestige

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Heymann has led the revival of sharpened fingernail-based techniques of playing the wire-strung harp documented by Edward Bunting in the late 18th century from the playing of Denis O'Hampsey, one of the last traditional Irish wire-strung harp players. The sustained resonance of the wire-strung

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The Pibroch Network website has recently been founded to support the revival of historically informed pibroch performance through the sharing of scholarship and practice based research. The site makes freely available a comprehensive resource of largely unpublished early manuscripts of pibroch

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harp and made no mention of bagpipes. Hugh Cheape argues that the bagpipes gained popularity and prominence through the need for a martial instrument in a period of increasing military engagements. Bagpipes were grafted on to existing structures of aristocratic cultural patronage and aesthetic

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Chris Caswell is a multi-instrumentalist wire-strung harp player and maker, flautist and piper who studied harp with Alison Kinnaird and bagpipes with Donald MacPherson and Donald Shaw Ramsay. He began playing pibroch on the harp in 1973 and has transcribed and recorded the pibroch Catriona's

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Allan MacDonald is a competition winning piper who has been investigating the relationship between Gaelic song and the melodic theme or urlar ground of pibroch as a means to inform the rubato rhythmic and musical interpretation of the performance of this pipe repertoire. He has researched and

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Frank Timoney, "Who Was The Earl of Antrim? A Discussion: On the Possible Influence of Scottish and Irish Ceol Mor on Each Other", The Piping Times, November/December, 1997; Frank Timoney, "In response to readers' questions regarding 'Who Was The Earl of Antrim?'", in The Piping Times, 1998.

5446:, a series of video demonstrations by a Breton wire-harper of the chanted Canntairead and the Urlar, Dithis, Dithis S.-D.Tourluath Crunluat, Crunluath and Hi o din sections of this pibroch transcribed and played on a replica Queen Mary wire-harp, live performance available online via YouTube. 1721:

Pipers and researchers such as Allan MacDonald, Barnaby Brown and William Donaldson have questioned the editing of the tunes that went in the Pìobaireach Society books. Many compositions appear to have been edited and distorted to make them conform unnecessarily to particular recognised tune

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harp repertoire and practices are assumed to have begun to transfer across from the harp to the bagpipes in the 16th century. A North Uist tradition identifies the first MacCrimmon as a harper. The MacCrimmons asserted that they received their first training in a school in Ireland. Alexander

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Pibroch is difficult to document accurately using traditional musical notation, and early attempts suffered from conventions which do not accurately convey tune expression. More contemporary pibroch notation has attempted to address these issues, and has produced notation much closer to true

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The subsequent variations can number from one up to about twenty, although there are a few fragmentary tunes for which only a ground is known. In most cases the variations following the ground involve the use of a number of different musical embellishments, usually starting very simply and

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Band Re, Strathosphere (CD), 2006. Siubhal CD021. This recording is a collaboration between Barnaby Brown on voice, whistles, smallpipe and triplepipe, and Gianluca Dessi, on guitar and Irish bouzouki, who is a Sardinian musician drawing on local music traditions that share many of the

4986:" which translates as "Lament for the Tree of Strings." Another better known pibroch published by Angus MacKay this same title, translated as "Lament for the Harp Tree" appears in the earlier Campbell MS as "MacLeod's Lament". Heymann plays on a replica early wire-strung clarsach harp. 6334:/Brian Boru's March", on The Belfast Harp Festival 1792–1992 (CD), 1992. Gael-linn, CEFCD 156. Yeats has restored this tune to the wire-strung harp, informed by documented performance techniques of Patrick Byrne (c. 1794 – 8 April 1863), the very last noted wire-strung harp performer. 2019:

on the wire harp available online on video via YouTube. Simon Chadwick gave a presentation on Harp Ceol Mor at the Piobaireachd Society Conference in 2016 which included performances of Burns March, Caniad San Silin and his arrangement for Clarsach wire harp of the bagpipe pibroch

5725:, live performance, on Scotland's Music, Episode 9, BBC Scotland. This is likely to be a transcribed wire-strung harp composition commemorating the Battle of Harlaw in 1411. See: Simon Chadwick, "Battle of Hara Law" on Clàrsach na Bànrighe (CD), 2008, Early Garlic Harp Info EGH1. 2347:. The pibrochs "Hugh's Lament," "Samuel's Black Dog" or "Lament for Samuel", and "Lament for the Earl of Antrim" also have an association with this Irish conflict. Frank Timoney argues that "Lament for the Earl of Antrim" is another possible Irish wire-strung harp composition. 1722:

structures. The standardisation of the notated pibroch tunes has made the judging of competitions easier at the expense of the ornate complexity and musicality of an art-music that had passed down from teacher to pupil through the oral transmission of repertoire and technique.

1152:, written in 1797, is a two-volume manuscript with chanted vocable transcriptions of pibroch music that predates the 19th-century attributions. It contains no references to the MacCrimmons and has different names for numerous tunes that were subsequently associated with them. 3653:

Rev Duncan Campbell, "Gaelic Proverbs", Transactions of the Gaelic Society of Inverness, XLV, (1967-8), p. 6 referenced by Hugh Cheape, "Traditional Origins of the Piping Dynasties", in Joshua Dickson (Ed), in The Highland bagpipe: music, history, tradition, Volume 2008, p.

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although it does have pacing. The written notation of pibroch serves mainly as a rough guide for the piper. The expression of the rhythms and tempos of the pibroch tune are primarily acquired from an experienced teacher and applied through interpretive performance practice.

1494:", and "A Glass". "Glas" is also a key term found in the Irish wire-harp tradition, as noted down by Edward Bunting from harpers such as Denis O'Hampsey who was one of the last musicians still playing the traditional Gaelic repertoire in the late 18th century. Bunting uses 4502:. Simon Fraser sourced pibroch include: "Fairy Glen", "Lament for Rory Mor II", "Red Hand in the McDonald's Arms" attributed to Patrick Og McCrimmon, and "MacLeod of Talisker's Lament." See also Barry Orme "The Piobaireachd of Simon Fraser with Canntaireachd", 1979, p. 9. 1624:

in 1746, the old Gaelic cultural order underwent a near total collapse. Pibroch continued to be played by bagpipers, but with diminished patronage and status, and was perceived to have gone into a decline. The modern revival of pibroch was initiated by the newly founded

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is unknown, however pibroch continues to be composed up to the present day. Recent research suggests that the style of ornamentation in pibroch points to earlier origins in wire-strung Gaelic harp music, in particular the use of rapid descending arpeggios as gracenotes.

5144:/Lament for the Bishop of Argyll" is a transcribed fiddle pibroch collected by Dow that is likely to have originated on the harp. Mayor plays on a replica early wire-strung clarsach harp. Sample mp3 audio files of this album are available online on the album webpage. 1784:

An emerging model of historically informed practice-based research into pibroch is being conducted by innovative piper/scholars such as Barnaby Brown and Allan MacDonald. Brown has researched pibroch documented in historical manuscripts, focusing particularly on the

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There were a number of musicians across the period from the 17th to the 18th centuries who were noted multi-instrumentalists and potentially formed a bridge from the harp to the fiddle and bagpipe repertoire. Ronald MacDonald of Morar (1662–1741), known in Gaelic as

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in Scottish Fantasies for Violin and Orchestra (CD), 2005. Cedille CDR 90000083. (Alasdair Fraser, fiddle; Scottish Chamber Orchestra; Alexander Platt, conductor). Pine argues that MacKenzie composed a homage to the fiddle pibroch form in the Second Movement

6489:, "Ruairí Ó Mórdha/Rory O'More", on The Belfast Harp Festival 1792–1992 (CD), 1992. Gael-linn, CEFCD 156. Yeats has recorded an historically informed reconstruction of the performance of the Irish tune on wire-strung harp based on Edward Bunting's notation. 1086:

Many pibroch tunes have intriguing names such as "Too Long in This Condition", "The Piper's Warning to His Master", "Scarce of Fishing", "The Unjust Incarceration" and "The Big Spree" which suggest specific narrative events or possible song lyric sources.

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Scottish Fiddler and composer Paul Anderson incorporates revived fiddle pibrochs and transcribed bagpipe pibrochs in his live repertoire, documented on YouTube, and has composed the new work "Lament for the Gordons of Knock" in the fiddle pibroch form.

1244:, and possibly some of the early bagpipe pibrochs. Probable wire-strung harp repertoire can also be found in a number of collections of Irish and Scottish songs and tunes, often published in arrangements for violin, flute and other modern instruments. 6226: 1379:

Fiddle pibroch performance techniques included double-stops, different bowing patterns, complex ornamentation and expressive rubato rhythmic freedom. Pibroch fiddlers employed alternative scordatura tunings to play this repertoire, such as the

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In 1903, The Pìobaireachd Society was founded with the aim of recording the corpus of existing pibroch tunes, collating the various versions, and publishing an authoritative edition. Those normative tune settings have been the basis on which

5663:" on viola with cello and bronze age trumpet drones; bagpipe pibroch "MaGrigor's Search" as a medley of pibroch and song theme variants with Allan MacDonald dueting on bagpipes; harp and fiddle pibrochs "Lament for the Bishop of Argyll – 1066:) are tunes that acknowledge a person, event or location. Salutes were often written upon the birth of children or after a visitation to a prominent figure such as a clan chief. Many salutes have been written to commemorate famous pipers. 4858:(The Lament For The Harp Key)" on The Quiet Tradition (CD), 1990. Temple Records, COMD 2041. Kinnaird has composed three new variations for this tune originally sourced from the Angus Fraser MS. and plays the tune on a modern lever harp. 2166:

There is debate over the interpretation of references in Welsh manuscripts to the role of gut-strung and horse hair-strung bray harps in the late-Middle Ages. Taylor considers these to be the authentic instruments for the performance of

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The oral transmission of the repertoire has led to diverse and divergent accounts of the names for tunes, and many tunes have a number of names. Mis-translation of Gaelic names with non-standard phonetic spelling adds to the confusion.

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Alexander Macdonald, The poetical works of Alexander Macdonald, the celebrated Jacobite poet : now first collected, with a short account of the author, Glasgow : G. & J. Cameron, 1851, cited in Dr. William Donaldson,

3607: 2037:

Bill Taylor is a Scottish and Welsh early harp scholar and performer who has collaborated with pibroch piper Barnaby Brown and violinist Clare Salaman on the recording of bagpipe pibroch arranged for the Clarsach wire harp, lyre,

894:

is similar. The theme note is accented and followed by a cut note of lower pitch, usually alternating, for example, between an A and a G. If the coupled pairs are played in a repeating pattern, it too is called a dithis doubling.

2109:

Multi-instrumental violinist Clare Salaman has collaborated with harper Bill Taylor and pibroch piper Barnaby Brown on the recording of bagpipe pibroch arranged for the hardanger fiddle, hurdy-gurdy and vielle, released in 2016.

1437:, was an aristocratic wire-strung clarsach harpist, fiddler, piper and composer, celebrated in the pibroch "The Lament for Ronald MacDonald of Morar." He is the reputed composer of a number of highly regarded pibrochs including " 1886:

started a similar music degree program in partnership with the National Piping Centre. They host a series of concerts that featured Barnaby Brown in 2010 performing the pibroch "Desperate Battle" arranged for the triple-pipe or

4824:/The Royal Lament" on The Harp Key (CD), 1978. Temple Records. Alison Kinnaird has performed and recorded these compositions on a modern lever harp in settings based on Simon Fraser's son Angus Fraser's MS. "The Royal Lament" ( 4910:(Lament for the Earl of Wigtown)" and "Cumha Eachainn Ruaidh nan Cath (Lament for Red Hector of the Battles)", on The Silver String (CD), 2004, Temple Records CD2096. Kinnaird plays a replica early wire-strung clarsach harp. " 1082:

The different categories of pibroch do not have consistent distinctive musical patterns that are characteristic of the category. The role of the pibroch may inform the performers interpretative expression of rhythm and tempo.

2896:

number of pibroch titles and terms that are commonly mistranslated or remain ambiguous. The original manuscript's spelling is nevertheless retained for tune titles and musical terms described below unless otherwise indicated.

1836:(Going to the Eternal Dwelling with You)" reviving a lost compositional practice described in early accounts. His recordings include collaborations with musicians outside the piping fraternity who are researching and playing 779:

of the earliest manuscripts such as the Campbell Canntaireachd MS that predate the standard edited published collections have been made available by the Pibroch Network website as a publicly accessible comparative resource.

1645:

The orally transmitted pibroch repertoire was collected and documented in a diverse range of manuscripts mostly dating from the early 19th century. The first comprehensive collections were the canntaireachd notations in the

1298:, which is usually translated, "Lament for the Harp Tree", i.e. the tree of strings. It strikes us that this is a bardic expression for the instrument itself, as we should say "the Bag of Pipes." This pibroch appears in the 6498:

Allan MacDonald, "Duncan MacRae of Kintail's Lament (Pibroch)/March of the King of Laoise (Martial Piece)", on Allan MacDonald and Gordon Walker, The Piping Centre 1998 Recital Series – Volume 2 (CD), 2001. Temple Records,

1352:

professional hereditary harpers was largely gone by the mid-17th century, although there are records of harpers such as Rory Dall Morison who were still being maintained by leading families up until the early 18th century.

2763:

etc. English translation: Cattle lifting, cattle rustling, cattle lifting we’ll go, cattle lifting, through rain and through mist, up the moor of Glen Croe we’ll go. Booty lifting, wasp stinging, booty lifting we’ll go,

1949:

related compositions with Ann Heymann who plays a replica early Irish clairseach wire-strung harp. Kinnaird has recently also performed and recorded revived ceòl mór on a replica early Scottish wire-strung clarsach harp.

1426:

originally published in 1930, recounts a tradition that the MacCrimmons were "skilful players of the harp, and may have been composers of its music, before they began to cultivate the other and more romantic instrument."

1633:

in 1781. Over the course of the 19th century, with the opening up of communications within the Highlands, in particular, the railways, a competing circuit emerged with the two most pre-eminent competitions being held at

4372:, video available via YouTube. See also: Roderick D. Cannon, "The Campbell Canntaireachd manuscript: the case for a lost volume" in The Highland Bagpipe, Music, History, Tradition, Joshua Dickson (Ed.) Ashgate, 2009. 6859:, A typescript list of musical items compiled by Dr David Johnson and given to Stuart Eydmann during a talk on the subject at the Scots Fiddle Festival, Edinburgh, 28.11.1999. The talk was recorded by Stuart Eydmann. 4326:, Pipe|Drums, May 28, 2013, an interview with Dr William Donaldson discussing the innacurracies of the Piobaireachd Society sanctioned published settings of piobaireachds when compared with earlier manuscript sources. 6909:, www.pipesdrums.com. Analysis of the annual set tunes for the Pìobaireachd Society competitions with comparisons of the various published and early manuscript scores of each of the tunes and accompanying commentary. 6443:

in Campbell Canntaireachd volume 1, no. 48, 1797, NLS MS 3714. See also: William McCallum, "Lament For Hugh" on Various, Ceol Na Pioba (Music Of The Pipes) – A Concert Of Piobaireachd (CD) 2000. Greentrax CDTRAX5009

3920:

which may here mean tuning as in the tuning of the f string to f# "(and then setting its octaves also to f#) the harp is set in the ‘sharp or natural tuning’, that is the natural major scale of G." – Simon Chadwick,

1830:, a wrenching lament for those who suffered ethnic cleansing in the 18th and 19th centuries, commissioned for the BBC series of the same title. He has also extemporised pibroch variations to the early Scottish song " 1814:

that restores and interprets repertoire that was "tidied up" and edited out by Angus MacKay and subsequent PS editors. His performances on this recording draw on early manuscript sources such as the Colin Campbell

1979:

MS, in arrangements that employ a mobility of drone effects on the resonant wire strings, reverse engineering the shift to fixed drones that would have occurred in an appropriation of harp music by the bagpipes.

1725:

Independent documentation of this tradition of oral transmission can be found in canntaireachd manuscripts, chanted vocable transcriptions of the music that predate the normative musical scores authorised by the

741:, an effective method of denoting the various movements in pibroch music, and assisting the learner in proper expression and memorization of the tune. The predominant vocable system used today is the Nether Lorn 1751:

Alternative lineages have also survived in unlikely settings. Simon Fraser (1845–1934), whose family emigrated to Melbourne, Australia in the 19th century, passed down a distinct body of pibroch repertoire via

5346:, harp transcription of a song attributed to Alexander Grant of Shewglie (early 1700s) celebrating the different and related roles of pipe, fiddle and harp music, live performance available online via YouTube. 2432: 204: 1075:) are tunes written specifically for a clan. These tunes were used to call a clan together by their chief. The title "Gathering" traditionally refers to the practice of seasonal cattle raiding of rival clans. 2754:

MacFarlanes’ Gathering, for example, had associated Gaelic words written according to 19th-century tradition by Aindrea Triath nam Pàrlanach, chieftain of the MacFarlanes between 1514 and 1544, as follows.

2273:

The Irish wire-strung harp standard "Brian Boru's March" appears with pibroch variations and a range of titles in the Scottish bagpipe repertoire: Angus MacKay and General C.S. Thomason both give two titles

4843:/Lament for the harp tree." She plays the ground, the first and second variations, and the amplified ground and is joined by Jimmy Anderson on small pipes playing an excerpt of the related bagpipe pibroch. 3639:

is a related precursor to the bagpipes with a double chanter and no bag, that had been played in Scotland and Ireland until the late-Middle Ages when it was supplanted by the bagpipes. See: Barnaby Brown,

3253:/The Royal Lament" on The Harp Key (CD), 1978. Temple Records. Allison Kinnaird has performed and recorded the composition on a modern lever harp in a setting based on Simon Fraser's son Angus Fraser's MS. 2006:

website, which is a comprehensive online resource on the revival of wire-strung clarsach harp repertoire and playing techniques. He has recorded transcribed pibroch, fiddle pibroch and medieval Irish harp

2210:

repertoire on a replica early Irish wire-strung clairseach harp. Simon Chadwick also includes this piece in his live repertoire, played on a replica early Scottish Queen Mary wire-strung clarsach harp.

2056:

vocals, released in 2016. Taylor and Brown have made available documentation of their collaborative research on the arrangements of bagpipe pibroch for wire strung Clarsach via the alt-pibroch website.

1384:

tuning recommended by violinist/composer James Oswald. Around seventeen fiddle pibroch compositions survive in various 18th- and 19th-century manuscripts and publications, collected by Walter McFarlan,

4959:

Barnaby Brown and Bill Taylor (eds.), An Introduction to Playing the Wire-strung Harp — a DVD & music book of lessons with Ann Heymann, Javier Sàinz & Bill Taylor, Glasgow: Siubhal, forthcoming

243: 2761:’Thogail nam bó, dhìomain nam bó,’thogail nam bó théid sinn,’thogail nam bó, ri uisge 's ri ceò,ri monadh Ghlinn Crò théid sinn.’Thogail nan creach, bhualadh nan speech,’thogail nan creach théid sinn, 1053:) are mourning tunes often written for a deceased person of note. Laments were commonly written as a result of families being displaced from their homeland, a practice that was very common after the 516: 3916:

The Bunting term "Tead a leith glass – String of the half note" is probably unrelated to the pibroch title above. Colm Ó Baoill and Simon Chadwick identify this usage of "glass" with the Irish term

1953:

Veteran Breton harper Alan Stivell began performing and recording on the revived wire harp with bronze strings in the early 1960s. His recordings have included arrangements of three Bagpipe Pibroch

1736:

recently initiated a public campaign to track down any living relatives of Campbell or other parties who might have acquired the document without realising its historical and musical significance.

1732:

Society and enforced through prescriptive competition judging criteria. The Pibroch Network website has made a range of these Canntaireachd manuscripts available online as a comparative resource.

2364:

This medieval composition survived in the repertoire as a training tune for wire-strung harp students that provided a vehicle for the mastery of characteristic ornamental performance techniques.

1943:

repertoire on the harp along with other early Scottish harp music genres such as ports the following year. In her early recordings she played this music on a modern lever harp, She has recorded

1533:

The rise of the bagpipe and the corresponding shift away from the harp and its associated traditions of bardic poetry is documented with a confronting disdain in the satirical dispraising song "

1143:

There is some controversy over the attribution of authorship of key pibroch tunes to the MacCrimmons by Walter Scott, Angus Mackay and others who published on the topic in the 19th century. The

2188:

music was originally played on the highly resonant wire-strung harp using similar sharpened nail-based string striking and dampening techniques and ornamentation employed in Irish and Scottish

594: 438: 360: 109:

or 'little music'). This term encompasses music of a similar nature to pibroch, pre-dating the adoption of the Highland pipes, that has historically been played on the wire-strung Gaelic harp (

4351:

Campbell Canntaireachd Vol 2, no. 33. with a bagpipe performance demonstration by Peter McCalister, a member of the Pìobaireachd Society who has been researching and reviving this repertoire:

1110:

In the absence of concrete documentary evidence, the origins of pibroch have taken on a quasi-mythic status. The earliest commonly recognised figures in the history of bagpipe pibroch are the

477: 282: 165: 733:

Pibroch is properly expressed by minute and often subtle variations in note duration and tempo. Traditionally, the music was taught using a system of unique chanted vocables referred to as

555: 321: 5657:

Bonnie Rideout, Scotland's Fiddle Piobaireachd Volume 1, (CD) 2010. Tulloch, TM504. This is a dedicated recording of fiddle pibroch. It includes: bagpipe pibroch "MacDougall's Gathering –

2176:

Peter Greenhill's reading of the manuscripts has led him to conclude that the pieces were played on a wire strung harp and that they were instrumental pieces, though he theorises that the

3428:

Colm O'Baoill, "Highland Harpers and their Patrons", in James Porter (Ed), Defining strains: the musical life of Scots in the seventeenth century, Peter Lang Publishing, 2006, p. 181-196.

990:

Few pibrochs are pure examples of any of these structures though most can be fit into one of the first three with a slight modification of one or two of the phrases in one or more lines.

399: 1748:

Recordings by acclaimed practitioners such as Robert Reid, a leading proponent of the Cameron style, and Donald MacPherson offer exemplary documentation of these performance traditions.

2343:/The End of the Little Bridge," a battle pibroch associated with an expedition to Ireland in 1594 by an army of Scottish Isleman to support Red Hugh O'Donnell's rebellion against Queen 1765:-based piper who also published a further small number of distinctive pibroch sourced from Simon Fraser. Watt's own bagpipe compositions are influenced by Simon Fraser's pibroch style. 629: 2906: 1508:

as a specific fingering technique, which he translates as "a joining", a simile for lock. He describes this as "double notes, chords etc" for the left treble hand and right bass hand.

3967:– spread hand" which Bunting describes as "Double notes, chords, etc. (...) for the right hand" played "with forked fingers, first and third fingers, an octave." See: Simon Chadwick, 2331:

transcriptions of "One of the Irish Piobarich" also known as "The Bard's Lament", the "Brian Boru's March" pibroch variant "Brian O'Duff's Lament/An Irish Lively Tune" also known as "

1842:

and related musical traditions on other instruments, notably acclaimed pibroch fiddler Bonnie Rideout, Gaelic singer Margaret Stewart and wire-strung Gaelic harp player Javier Sainz.

2098:

revivalists including pibroch bagpipers Allan MacDonald and Barnaby Brown, early Scottish luter Ron MacFarlane, flautist Chris Norman and early Gaelic and Welsh harper Bill Taylor.

4879:(The Death of Alasdair)/McAllistruim's March" and "The Harper's Land (Hi ri ri ri ho)" on Ann Heymann and Alison Kinnaird, The Harpers Land (CD), 1983. Temple Records COMD 2012. " 2905:

Sir Walter Scott, "Mackrimmon's Lament" in The poetical works of Sir Walter Scott, with memoir of the author, Ann Arbor, Michigan: University of Michigan Library, 2005, p. 285-7.

6010: 4761:

at the RSAMD Plug Concert, 2010. This pibroch shares a related theme to the "Battle of Hara Law" harp ceol mor with different variations. Brown has revived the triple-pipe or

1872:

in 2007 of 17th-century pibroch performed on bagpipes by Welch and new works informed by pibroch for string quartet and organ, composed by Welch and McClellan respectively.

3598:

The earliest Scottish references to the bagpipes occur in records of payment made by the Lord High Treasurer in 1489 and 1505 to English bagpipers who played before King

2436: 1565:

This can be contrasted with the celebration of the heroic warrior associations of bagpipe pibroch at the expense of the harp and fiddle by later Clanranald poet Alasdair

5729: 1660:(1828) collected from John MacCrimmon prior to his death in 1822. A series of manuscripts in the early 19th century documented pibroch in staff notation, including the 5808:(Lament for the Earl of Wigtown)" on The Silver String (CD), 2004, Temple Records CD2096. Kinnaird plays this composition on a replica early wire-strung clarsach harp. 5611:

Bonnie Rideout, "MacIntosh's Lament", Bonnie Rideout Scottish Trio with Special guest piper Jerry O'Sullivan, on Live-the Barns At Wolf Trap (CD), Tulloch Music, 2005.

4916:(Lament for the Earl of Wigtown)" is a fiddle pibroch that is likely to have originated on the harp. "Lament for Red Hector of the Battles" is bagpipe pibroch with an 4016:

Derick Thompson "Niall Mòr MacMhuirich", Transactions of the Gaelic Society of Inverness, 49, 1974, p. 21–2. Translation by John Logan Campbell, in Francis Collinson,

831:. The theme is usually a very simple melody, though few if any pibroch contain the theme in its simplest form. The theme is first stated in a slow movement called the 4622:

Allan MacDonald, "Dol Dhan Taigh Bhuan Leat (Going to the Eternal Dwelling with You)" (trad. with extemporised variations) on Allan MacDonald & Margaret Stewart,

3971:, Early Gaelic Harp website. Bunting notates this as an ascending sequence which again does not allow for dampening. Heymann proposes swapping the directions so that 2080:

Rideout performs the early harp and fiddle pibroch "The Battle of Harlaw" and the related bagpipe pibroch "The Battle of the Birds" on the John Purser produced album

955:

Secondary – The theme or ground is composed of four phrases, with A and B being one-bar phrases and C and D being two-bar phrases, and played in the following order:

4511:

Barnaby Brown, "Hioemtra Haentra", and "Hihorodo Hiharara" on Various, Ceol Na Pioba (Music Of The Pipes) – A Concert Of Piobaireachd (CD) 2000. Greentrax CDTRAX5009

3676:

Alexander Nicolson, Alasdair Maclean, History of Skye: a record of the families, the social conditions and the literature of the island, Maclean Press, 1994, p. 129.

1221:

Most pibroch are commonly assumed to have been written during the 16th to 18th centuries. The entire repertoire comprises approximately 300 tunes. In many cases the

97:

in old spelling), meaning the 'great music' (to distinguish this complex extended art-music from the more popular Scottish music such as dances, reels, marches, and

4922:

theme that may originally have been a song. Kinnaird plays a version of the theme collected by Duncan Currie with variations that she has composed for the clarsach.

6225:

Mike Paterson interview with Barnaby Brown, in Piping Today 38, 2009, p. 26-29; Barnaby Brown, "Scottish Traditional Grounds", in Piping Today 38, 2009, p. 44-47.

4487:

J.D. Ross Watt, "Empire Book of Pipe Tunes and Tunes for the Pipes", London: Paterson's Publications Ltd, Vol 1, 1934, Vol 2, 1936; republished as J.D. Ross Watt,

2173:. Heymann and Chadwick are contributing to a research project to reconstruct an early Welsh horse hair-strung bray harp, testing this theory through application. 4681: 6997: 5438:/Rory O Moor, King of Leix's March" transcribed by Edward Bunting from the repertoire of Irish wire-strung harpists in the late 18th century; Dominic Haerinck, 1745:

instruction, with two of the most influential coming to be known as the Cameron style, which is more rounded, and the MacPherson style, which is more clipped.

6212:

See also: Simon Chadwick, "Kaniad San Silin", Robert ap Huw MS, a live demonstration performance on a replica Queen Mary medieval wire-strung clarsach harp.

5224:

The Cave of Gold" is associated with a Gaelic song of the same title recounting the tragic fate of a bewitched piper and/or harper. The title of the pibroch "

2228:

Further clues to the broader cultural context of bagpipe pibroch can be found in the small body of compositions that have an Irish association. The pibroch "

937:

In addition the theme will usually have one of several internal structures for the ordering of its musical phrases. These are usually classified as follows:

7450: 2304:

At the William Kennedy International Piping Festival (2009), held in Armagh, Barnaby Brown conducted workshops on the chanting of Irish associated pibroch

5648:

Ian Hardie, "The Highlands of Nairnshire" on Westringing (CD), 2007. Ian Hardie IJHCD001. This is a new commissioned fiddle pibroch composition by Hardie.

5802:

live performance, on Scotland's Music, Episode 19, BBC Scotland. This is likely to be a transcribed wire-strung harp composition. See: Alison Kinnaird, "

5639:

Bonnie Rideout, "Kindred Spirits", on Kindred Spirits (CD), 1996. Maggie's Music MM214. This is a new commissioned fiddle pibroch composition by Rideout.

1933:

Manx harper Charles Guard was the first to record arrangements of bagpipe pibrochs performed on the wire strung clarsach harp in 1977. Scottish Harper

6922: 6358:

in Niel MacLeod, A Collection of Piobaireachd or Pipe Tunes, as verbally taught by the McCrummen Pipers in the Isle of Skye, Edinburgh, 1828, no. 19.

1883: 1389:, James Oswald and others. Notable fiddle pibrochs include compositions likely to have been transcribed from the wire-strung harp repertoire such as " 5774: 3994:, 2009. An edition of a poem by piper and harper William McMurchy, c. 1750, with some comments on the rise of the pipes and the decline of the harp. 3336: 2255:

repertoire. Ann Heymann has recently transcribed, performed and recorded this pibroch played on a replica early Irish wire-strung clairseach harp.

1094:

In some cases the name and subject matter of pibroch tunes appears to have been reassigned by-19th century editors such as Angus MacKay, whose book

4885:(Bishop of Argyle's Lament)" is a fiddle pibroch that is likely to have originated on the harp. It is transcribed from an arrangement sourced from 4831:) is a harp composition by John Garbh MacLean, Laird of Coll with a similar structure to pibroch. Kinnaird plays the ground and second variation. " 4035: 747:

sourced from the Campbell Canntaireachd manuscripts (Volume 1. 1797) and (Volume 2. 1814). and used in the subsequent Piobaireachd Society books.

4495: 4411:

Donald MacPherson, A Living Legend (CD/Book), Barnaby Brown, Bridget MacKenzie, James Campbell, David Murray (Editors), Glasgow: Siubhal, 2004.

1040:

Pibroch in the functional category were most commonly written for or have come to be associated with specific events, personages or situations:

5359: 2077:

features collaborations with pibroch bagpiper and scholar Allan MacDonald, Alan Jackson on gut-string harp and Chris Norman on baroque flute.

6677: 6428: 5287: 4377: 4259: 4051:

Keith Sanger, Alison Kinnaird, Tree of Strings: Crann Nan Teud: A History of the Harp in Scotland, Edinburgh: Kinmor Music, 1992, p. 111–128.

2687: 3571:

The Caledonian pocket companion, containing all the favourite Scotch tunes, with variations for the German flute, with an index to the whole

3492:

The Caledonian pocket companion, containing all the favourite Scotch tunes, with variations for the German flute, with an index to the whole

3196:

The Caledonian pocket companion, containing all the favourite Scotch tunes, with variations for the German flute, with an index to the whole

1607:

Cheape identifies accounts of a MacArthur college of piping instruction in ceòl mór as a continuation of a pre-existing Irish bardic model.

5839: 5459: 5044:

MS and may have originally been an Irish harp composition. This version is transcribed from the John MacGregor/Angus MacArthur MS (1820). "

4559: 1213:

concur with a living tradition of performed repertoire, providing a grounding for any debate over authoritative accounts of the tradition.

6095: 5905: 5542: 4160: 3559:) as one of her favourite harp tunes played by blind harper Lachlan Dall that she lamented never hearing again as the old harper had died. 1292:, so unlike all others, is evidently from its style, of very high antiquity. We have not been able to procure any satisfactory account of 996:

There is evidence from early treatises (e.g. Joseph MacDonald) that the structure was originally counted in 4, so a Primary form would be

5759:

as "Battle of garlan." A pibroch variant of "Battle of Hara Law" with a related urlar theme and different variations is published in the

2234:" which translates as "The Cleric's Lament" and is commonly known as "The Bard's Lament" is entitled "one of the Irish piobarich" in the 4591: 4587: 4365: 4204: 4192: 4134: 1036:

Short names – diverse short names referring to places, people and events similar to those found in Scottish popular music of the period.

1030:

Technical – referring to strictly musical characteristics of the pieces such as "port" or "glas", terms shared with wire-strung harpers.

6962: 6028: 5984: 5439: 4164: 4146: 6934: 2458: 2289:

title "Brian O’Duff's Lament"; Simon Fraser lists the tune as "A Lament for King Brian of Old"; and the Niel MacLeod of Gesto book of

6918: 4741: 6990: 6956: 6761: 6742: 6696: 6658: 6639: 6620: 6601: 4416: 3019: 2152:

Bill Taylor is an early Scottish and Welsh harper who is researching, reconstructing and recording definitive performances of early

843:. This is usually a fairly stylised version of the theme, and usually includes numerous added embellishments and connecting notes. 6940: 66:

that is characterised by extended compositions with a melodic theme and elaborate formal variations. Strictly meaning 'piping' in

5328:, medieval Scottish composition transcribed back to the harp from Fiddle pibroch published by Daniel Dow (1776); Simon Chadwick, 4729:, Dwight Chapel, Yale, March 30, 2007. Video and audio documentation of the event available online on Robinson Mcclellan website. 4323: 2102:

bodhran. It includes arrangements of traditional fiddle pibrochs and two new compositions in the fiddle pibroch form by Rideout.

5109: 3294: 4974:, #2 (Lament For The Harp)", on Queen of Harps (CD), 1994, Temple Records COMD2057. This tune is transcribed from the Campbell 4254:

Barnaby Brown, "Introduction", in Allan MacDonald, Dastirum (CD/Book), Barnaby Brown (Ed), Siubhal, 2007, p. 14-15. Siubhal 2.

5726: 5305: 3887: 3810: 3754: 3706: 3380: 2998: 6827:. Resource for the study of Ceòl Mòr on the great highland bagpipes. Includes scholarly articles and instructional resources. 6372: 5736:

available online via ltscotland.org.uk website. Chadwick plays on a replica Queen Mary early wire-strung clarsach harp. This

5329: 5325: 5315: 5301: 3856: 3315: 2954: 2877: 2592:, Volumes 1-15, Glasgow: Engraved and Printed for the Piobaireachd Society by Holmes McDougall LTD., 33 York Street, Glasgow. 2488: 2270:/Scarce of Fishing" appears in the earlier Donald MacDonald Jnr. MS. (1826) with the very Irish title of "O’Kelly's Lament." 1023:

The Gaelic titles of pibroch compositions have been categorised by Roderick Cannon into four broad groupings. These include:

6474: 5343: 3614:, no. 1150, Volume 23, London: H. Colburn, February 2, 1839, p. 66. Other early Scottish references to bagpipers appear in " 3220:"Twelve English and Twelve Irish Airs: With Variations, set for the German Flute, Violin or Harpsichord by Mr Burk Thumoth," 6952: 5687:" with Alan Jackson dueting on gut-strung harp; new Rideout fiddle pibroch composition "The Selchie" and traditional song " 3216:"Twelve Scotch and Twelve Irish Airs: With Variations, set for the German Flute, Violin or Harpsichord by Mr Burk Thumoth," 1911:

A parallel body of practice-based research is being undertaken by wire-strung Gaelic harp players who are transcribing the

2970: 2842:

Roderick D. Cannon, "What can we learn about piobaireachd?", Ethnomusicology Forum, Volume 4, Issue 1, 1995, Pages 1 – 15.

1989:

chanting. She has recorded transcribed pibroch together with revived Breton harp repertoire such as medieval bardic lays.

3981:

is played as an ascending sequence allowing for a corresponding dampening of the sustained resonance of the wire strings.

6983: 6387: 4135:

Niel MacLeod, A Collection of Piobaireachd or Pipe Tunes, as verbally taught by the McCrummen Pipers in the Isle of Skye

2258:

At the Highland Society of London pibroch competition in Edinburgh in 1785, John MacPherson is listed as having played "

2088:

hosted by John Purser, along with the harp and fiddle pibroch "Cumh Ioarla Wigton (Lament for the Earl of Wigtown)" The

2073:

Rideout has begun the release of a series of dedicated recordings of fiddle pibroch produced by her mentor John Purser.

1240:

genre transcribed in Scottish lute manuscripts and other collections, fiddle pibrochs published by Walter McFarlan, and

993:

A compilation of the structure of many pibroch tunes, including related historical essays, was written by A. J. Haddow.

6253: 3949:"Irish harp terms: Glas - A Joining (for the right hand) by thumb and third finger, an octave" with video demonstration 3936:"Irish harp terms: Glas - A Joining (for the left hand) by first and third fingers, a fourth,” with video demonstration 6256:

in Campbell Canntaireachd volume 1, no. 30, 1797, NLS MS 3714. See also: Barnaby Brown, "One of the Irish piobarich —

5705: 4678: 2892: 2400: 1917:

repertoire back to its reputed harp origins via pibroch compositions from early manuscripts sources, particularly the

6912: 5332:, pibroch ornamental variation performed on the harp, live performance available online via YouTube; Simon Chadwick, 4714:(Campbell Canntaireachd Volume 2, no. 48), live performance, Concerto Perda Pintà, 2003, video available via YouTube. 4103:, comprehensive notated listing of and links to early pibroch manuscripts available from the Pibroch Network website. 3872: 2133:

is being situated within a broader medieval cultural milieu in the British Isles through the revival of early Welsh

7440: 6856: 4542:

characteristics of pibroch. See particularly the new pibroch composition by Barnaby Brown, "Pioparich aon Cnocan."

4280:"The Relationship between Pibroch and Gaelic Song: its Implications on the Performance Style of the Pibroch Urlar," 2420:

The History and Structure of Ceol Mor - A Guide to Piobaireachd: The Classical Music of the Great Highland Bagpipe.

1875: 1626: 1174:

emigrating to the New World. Walter Scott wrote new romantic verses to this tune in 1818 with the title "Lament – (

1111: 6890:"The Relationship between Pibroch and Gaelic Song: its Implications on the Performance Style of the Pibroch Urlar" 6708:

The History and Structure of Ceol Mor – A Guide to Piobaireachd, the Classical Music of the Great Highland Bagpipe

6343: 4937:, Lament for the Children, McDonuill of the isles; Cumha na Chloinne", Harps of The New Age, Keltia III/WEA, 1985. 3608:"Review of new books: Ancient Scottish Melodies, from a manuscript in the time of King James VI by William Dauney" 3365: 2853:

The History and Structure of Ceol Mor – A Guide to Piobaireachd The Classical Music of the Great Highland Bagpipe.

969:

Tertiary – A relative of Primary Pibroch, with three two-bar phrases, A, B, and C, played in the following order:

7278: 7222: 7199: 7147: 5304:, demonstration of ornamental playing techniques, live performance available online via YouTube; Simon Chadwick, 3826: 2752:

Barnaby Brown, "The MacFarlanes’ Gathering (Too Long in this Condition)", AltPibroch website, posted Dec 19, 2016

2714:

The History and Structure of Ceol Mor - A Guide to Piobaireachd The Classical Music of the Great Highland Bagpipe

6572:

Simon Chadwick, "Burns March", live demonstration performance on replica early Irish wire-strung clàrsach harp.

6453: 5333: 4242:

The Relationship between Pibroch and Gaelic Song: its Implications on the Performance Style of the Pibroch Urlar

7408: 6371:, William Kennedy International Piping Festival, Armagh, Northern Ireland, 2009. www.armaghpipers.org website. 6355: 4348: 3694:

in Donald MacDonald's Manuscript, Vol 2. NLS MS 1680. 1826. Available online from the Alt Pibroch Club website.

3685: 2805: 2756: 1795:. He has revived and recorded lesser known pibroch such as "Hioemtra Haentra" and "Hihorodo Hiharara" from the 622: 587: 548: 509: 470: 431: 392: 353: 314: 275: 236: 197: 158: 84: 33: 6314: 5230:

A bagpipe lament" which translates as "The Fingerlock" possibly refers to the wire-strung harp technical term

3750:/The Boy." This tune was significantly altered by the PS editors when compared with the earlier MacDonald MS. 1170:

manuscript, which translates as "I shall return no more", is related to a tune associated with victims of the

5826:

Paul Anderson, "Lament for the Gordons of Knock" in Land of the Standing Stones (CD), 2013. Birnam, FINCD505.

1277:" which translates as "Lament for the Tree of Strings", a possible poetic reference to the wire-strung harp. 7404: 7071: 6893: 6835: 6440: 6263: 5630:

and Rideout accompanies Taylor on another version of the tune from the collection of Angus Fraser (c. 1874).

3789: 1054: 2198:

Irish wire-strung harp techniques noted down by Edward Bunting in the late 18th century. She has recorded "

1993:

wire-strung clarsach and music from the Robert ap Huw ms on bray harp at the National Piping Centre’s 2013

7137: 7076: 5577: 4432:, Melbourne: Barrie J. MacLachlan Orme, 1979; 2nd edition, Melbourne: Brown Prior Anderson Pty. Ltd. 1985. 941:

Primary – The theme or ground is composed of two two-bar phrases, A and B, played in the following order:

77: 2826: 1967:

clàrsach harp allows for intricate ornamental effects through various striking and dampening techniques.

7445: 7291: 7081: 6889: 4279: 4240: 1879: 6302: 5314:, pibroch song transcribed to the harp, live performance available online via YouTube; Simon Chadwick, 6423:/The End of the Little Bridge", on Dastirum (CD/Book), Barnaby Brown (Ed), 2007, p. 46-48. Siubhal 2. 5443: 4183:, The Music of Scotland, Volume 1, Glasgow: University of Glasgow Music Department Publications, 2001. 3722: 3539:, c. 1740, NLS ms. 2084 & 2085. This pibroch composition was listed in a poem written in 1720 by 2739: 7414: 7030: 6882: 6863: 4492: 3599: 751: 5356: 5077:

MS. Heymann plays on a replica early wire-strung clarsach harp. Charlie Heymann sings in Gaelic on "

4390: 3744:, 1838, p. 66-7. MacKay appears to have mis-translated the title which is more likely to have been " 3014:

Alistair Campsie, The MacCrimmon Legend or The Madness of Angus MacKay, Edinburgh: Canongate, 1980.

1846:

hosted a series of pibroch concert recitals in 1996–1998 documented in a series of live recordings.

1401:/Lament for the Bishop of Argyll," and compositions for the violin within the pibroch form such as " 1121:– 1640), who is reputed to have left a group of highly developed tunes, and Patrick Mor MacCrimmon ( 7167: 7157: 7006: 6043:

Bill Taylor, "Medieval Welsh Bardic Music: Interpreting the Robert ap Huw MS.", available online:

5432:, live performance available online via YouTube. This pibroch is a variant of the Irish harp tune " 3633:

While the bagpipes are likely to have been introduced to Scotland from England, the triple-pipe or

1180:)" which translates as "We shall return no more", later republished as "Mackrimmon's Lament. Air – 1171: 6776: 5972:(Robert ap Huw MS, pp.15-17) from this CD, played on a replica bray-harp, are available online on 5342:, pibroch transcribed to the harp, live performance available online via YouTube; Simon Chadwick, 5324:, pibroch transcribed to the harp, live performance available online via YouTube; Simon Chadwick, 5300:, Irish medieval harp composition, live performance available online via YouTube; Simon Chadwick, 4767:, a medieval precursor to the bagpipes with a double chanter and no bag. See also: Barnaby Brown, 3589:"Mackintosh's Lament", in Robert Riddell's Collection of Scotch, Galwegian and Border Tunes, 1794. 7435: 7399: 7250: 6573: 5926:, B. M. Addl. MS 14905, Cardiff: University of Wales Press Board, 1936. Hinrichsen Edition, #378. 3303:, in Campbell Canntaireachd Volume 1, no. 81, available online from the Alt Pibroch Club website. 1621: 725:-related repertoire played on instruments other than bagpipes, particularly the Scottish fiddle. 98: 63: 5836: 5516: 5456: 5296:

pibroch transcribed to the harp, live performance available online via YouTube; Simon Chadwick,

4556: 2812:", M.Litt, University of Edinburgh, 1988, Ch. 4, part f, p. 186-194. Thesis available online on 2393: 6091: 5593:

accompanied by violist Paul Vanderwerf, on November 3, 2007. Video available online on YouTube.

5539: 3875:

in Campbell Canntaireachd Volume 2, no. 43. Available online from the Alt Pibroch Club website.

3798:

in Campbell Canntaireachd Volume 2, no. 48. Available online from the Alt Pibroch Club website.

3134: 1718:

have been judged ever since, with the piping judges themselves being appointed by the Society.

910:

variation are other more complex embellishments. The Gaelic names of these type movements are:

7127: 6757: 6738: 6692: 6673: 6654: 6635: 6616: 6597: 6424: 6141:

The Forgotten Silver-voiced Harp of Wales: The Accompaniment Lyre & the Accompaniment Harp

6004: 4524:, triplepipe.net website. An introduction with audio sample demonstrations, available online: 4412: 4373: 4255: 3182:

A Collection of the most Celebrated Irish Tunes proper for the violin, German Flute or Hautboy

3015: 2920: 2683: 2484: 847:

progressing through successively more complex movements before returning again to the ground.

828: 4004: 2350:

The bagpipe pibroch "Duncan MacRae of Kintail's Lament" is a variant of the Irish harp tune "

7367: 6486: 6325: 6024: 5949: 5777:

in "Lost Pibroch", 2009, Pipe and Drum website. The title "Battle of Harlaw" translates as "

5234:, a joining or lock of the fingers in an ascending sequence of notes (see ref. notes 74-77). 5218:(Lament for the Bishop of Argyll)" also likely to have originated on the harp. The pibroch " 3575: 3496: 3200: 2810:

The Highland Bagpipe: The Impact of the Highland Societies of London and Scotland, 1781–1844

2751: 2039: 640: 6048: 6044: 4007:

in The Kintyre Antiquarian and natural History Society Magazine, Issue Number 13 June 1983.

3725:

in Donald MacDonald's Manuscript Vol 2. Available online from the Alt Pibroch Club website.

7362: 7102: 7097: 6867: 6376: 6153: 6140: 6099: 6032: 5843: 5733: 5709: 5546: 5463: 5363: 5113: 4745: 4738: 4685: 4563: 4499: 3891: 3860: 3814: 3758: 3710: 3603: 3384: 3319: 3119:

A number of Ports and other probable harp compositions are also published in: John Bowie,

3002: 2958: 2881: 2495:

This book is an outgrowth of a 30-part BBC series commissioned by Martin Dalby. See also

1999:

concert. She later recorded The Battle of the Bridge of Perth in a 2019 released solo CD.

1934: 1869: 1603:

instrument, appropriating and supplanting the high cultural and musical role of the harp.

879:

single note are repeated or played in pairs, it is referred to as a doubling, otherwise a

67: 7040: 6301:

Alexander Duncan Fraser, Some reminiscences and the bagpipe, Edinburgh: W. J. Hay, 1907.

5936: 4402:

P/M Robert Reid, Classics From the College Vol 1, (CD). College of Piping COMPACTDISC830.

3536: 3477: 3147: 2182:

section may have been used for poetical accompaniment. He argues that instrumental early

1286:" is translated as "Lament for the Harp Tree." In MacKay's book James Logan notes: "This 809:

genres were historically also played on the fiddle and on the wire-strung Gaelic harp or

750:

Multiple written manuscripts of pibroch in staff notation have been published, including

5846:, Delphian Records, 2016. This recording includes arrangements of the bagpipe pibrochs " 5620:

Bonnie Rideout, "Marsail Lochinalie", on Scottish Inheritance (CD), Tulloch Music, 2002.

4543: 3107: 2873:

Campbell Canntaireachd volumes 2. 1797, NLS MS 3715. The tunes are numbered tunes 1-86.

7383: 7235: 6546:/Burns March", on The Belfast Harp Festival 1792–1992 (CD), 1992. Gael-linn, CEFCD 156. 5963: 5953: 5023:" is a fiddle pibroch collected by Dow that is likely to have originated on the harp. " 4724: 3095: 1715: 1316:/Lament for the Harp Tree". William Matheson argues that the title is a corruption of " 1078:

Rowing pibroch are more rhythmic tunes used to encourage rowers while crossing the sea.

687: 5799: 5722: 3969:"Irish harp terms: Ladhar - Spread Hand (for the right hand)" with video demonstration 3948: 3219: 3215: 3069: 1263:

A pibroch that is considered to be one of the oldest in the repertoire appears in the

7429: 7325: 7187: 7045: 5106: 4666: 4301: 3968: 3935: 3922: 3569: 3490: 3397: 3238: 3194: 3103: 2679: 2375: 2146: 1868:

Matthew Welch and Robinson McClellan are emerging composers who offered a recital at

1630: 1328:" attributed to one of the last Scottish wire-strung harper poets Rory Dall Morison ( 1322:" or "Lament for the Harp Key". He identifies the pibroch composition with the song " 787: 736: 6242: 4086:

Hugh Cheape, "Traditional Origins of the Piping Dynasties", in Joshua Dickson (Ed.)

4073:

Hugh Cheape, "Traditional Origins of the Piping Dynasties", in Joshua Dickson (Ed.)

4060:

Hugh Cheape, "Traditional Origins of the Piping Dynasties", in Joshua Dickson (Ed.)

3120: 3099: 1348:, written in his later years as a satirical lament to his declining sexual potency. 7347: 7339: 7301: 7260: 7245: 7112: 7020: 6845:, triplepipe.net. Analysis of the structure of pibroch with 11 audio file examples. 6166: 5817:

Bonnie Rideout, Scotland's Fiddle Piobaireachd Volume 2, (CD) 2012. Tulloch, TM506.

4639:

Bonnie Rideout, Scotland's Fiddle Piobaireachd Volume 1, (CD) 2010. Tulloch, TM504.

3884: 3807: 3751: 3703: 3377: 3181: 2995: 1762: 1137: 1129: 603: 568: 529: 490: 451: 412: 373: 334: 295: 256: 217: 178: 139: 6831: 6717:

Scottish Fiddle Music in the 18th Century: A Music Collection and Historical Study

6368: 6124:" by Ann Heymann on an experimental horse-hair strung Ardival Gothic bray harp or 5747: 4291:

Alan MacDonald, "Liner Notes", in Allan MacDonald, Dastirum (CD), 2007. Siubhal 2.

3853: 3515: 3465:

Scottish fiddle music in the 18th century: a music collection and historical study

3312: 3166: 3128: 2951: 2874: 2830: 2813: 2384: 104: 5602:

Bonnie Rideout, "MacIntosh's Lament", on Soft May Morn (CD), 1994. Maggies Music.

4179:(1820), NLS MS 1679. See: Frans Buisman, Andrew Wright, Roderick D. Cannon (Ed), 3098:, copy by George Farquhar Graham (1847), NLS ms adv.5.2.18; John Skene (d.1644), 2919:

in 1745. However, it has also been reported that over a decade earlier, in 1734,

2864:

Campbell Canntaireachd volume 1. 1797, NLS MS 3714. The tunes are numbered 1-83.

7357: 7352: 7212: 7172: 7142: 7122: 5752:, Edinburgh, 1776. The earliest version appears in the Rowallan lute manuscript 5466:, Delphian Records, 2016. This recording includes arrangements of the pibrochs " 2916: 2344: 2043: 812: 112: 5976:, a web resource by Barnaby Brown on the binary measures that characterise the 5895:

bardic art music composed up until the 1600s and played on diatonic bray harps.

5681:– The Carles with the Breekes" and "Marsail Lochinalie"; 19th-century pibroch " 4443:

Piobaireachd Exercises with some selected Ceol Mor in the style of Simon Fraser

3612:

The Literary Gazette: A weekly journal of literature, science and the fine arts

3413:

The Blind Harper (An Clarsair Dall) The Songs of Roderick Morison and his Music

790:

but it does have a rhythmic flow or pulse; it does not follow a strict beat or

7230: 7066: 7061: 7025: 6519: 6213: 6078: 6074: 5743: 5590: 5564: 5429: 5416: 5412: 5399: 5379:

on Holy Wood (CD), Gargoyle, 2001. This track is available online via YouTube.

5376: 5297: 5171:(Lament for the Bishop of Argyll)", "Battle of Hara Law" and "Burns March" on 4886: 4758: 4711: 4369: 4352: 3511: 3343:, Piper & Drummer Magazine, 2009, available on www.pipesdrums.com website. 3162: 3124: 2280:/The Frenzy of Meeting" and "Lament for Brian O'Duff", which concurs with the 1927: 1386: 1280:

Another better known pibroch published by Angus MacKay with the Gaelic title "

1241: 986:

Irregular – The theme or ground does not fit into any of the above structures.

6773:

Gàir nan Clàrsach. The Harps' Cry: An Anthology of 17th Century Gaelic Poetry

5773:, ff.150–152 as "The Desperate Battle – Harlaw." See: Dr. William Donaldson, 1878:, in Pittsburgh, Pennsylvania (USA) created the first degree in bagpiping, a 7162: 7107: 6969: 6879:"Pibroch Rhythm: Translating Early Gaelic Bagpipe Music in the 21st Century" 6531:

Charles Guard, "Burns March" on Avenging and Bright, Claddagh records, 1977.

5395: 4950:

The Historical Harp Society Journal, Vol. XIII no.3, Summer 2003, pps. 9-15.

4748:, National Piping Centre, Royal Scottish Academy of Music and Drama (RSAMD). 3083:"The Port" with video of a demonstration performance on the wire-strung harp 3030:

cf. Edward Jones, The Musical and Poetical Relicks of the Welsh Bards, 1784.

2215:

of medieval aristocratic and religious Irish Gaelic wire-strung harp music.

1970:

Heymann has recorded pibroch transcribed from early manuscripts such as the

1635: 1629:. They funded annual competitions, with the first being held at the Falkirk 1209:

motivations that can be traced back to anxieties over Scottish nationalism.

59: 17: 6899: 6878: 6849: 5702: 5203: 4314:

published musical scores for each composition with accompanying commentary.

3056: 1196:" is subsequently published with the title "MacCrummen will never return". 117:) and later on the Scottish fiddle, and this form is undergoing a revival. 6179: 6073:, Television Documentary, BBC4, 2007. Videos available online on YouTube: 5973: 5580:, live performance, September 12, 2006. Video available online on YouTube. 4652:, 1998 (CD). Greentrax CDTRAX132; Allan MacDonald & Margaret Stewart, 4594:, 1814, NLS MS 3715. Available online at the Piobaireachd Society website. 2667: 1461:" which MacKay translates as "The Finger Lock." This pibroch is entitled " 7309: 7240: 6752:

MacNeill, Seumas; Highland Society of London (1972). Angus MacKay (ed.).

5274: 4768: 4529: 4525: 4366:"The Search for the Lost Volume of the Campbell Canntaireachd Manuscript" 3990:

Hugh Cheape & Keith Sanger ‘Mock eulogy on a bad piper and his pipe’

3641: 3574:, London, 1750. Also published as: James Oswald (edited by John Purser), 3535:/Lament for the Bishop of Argyll", in David Young & Walter McFarlan, 3495:, London, 1750. Also published as: James Oswald (edited by John Purser), 3199:, London, 1750. Also published as: James Oswald (edited by John Purser), 3005:

Comparative tune resources are available on the Alt Pibroch Club website.

2961:

Comparative tune resources are available on the Alt Pibroch Club website.

2084:. Rideout first performed "The Battle of Harlaw" on the BBC radio series 1222: 1133: 6906: 6556: 5693:" arranged for cello with Allan MacDonald singing canntaireachd on both. 5202:

A bagpipe lament, attributed to Raghnall Mac Ailein Òig (1662–1741)" on

5172: 4125:

1814 copy, NLS MS 3715. Available online at the Pibroch Network website.

3082: 7035: 6613:

Joseph MacDonald's Compleat Theory of the Scots Highland Pipe (c. 1760)

5675:" arranged as a baroque flute duet with Chris Norman; fiddle pibrochs " 5330:"Forked Plait demonstration - used for crunnludh variation on the harp" 4207:, NLS Acc. 9231. Available online via the Piobaireachd Society website. 6975: 6118:, website, with audio file excerpt of a demonstration performance of " 6060:, Symposium on the poetry of Dayfdd ap Gwilym, Swansea, 4 April 2007. 5923: 1897:

notation and canntaireachd from the late 18th and early 19th century.

649:

literally means 'piping' or 'act of piping'. The word is derived from

6842: 4947: 4837:/Lament for the Harp Key" is closely related to the bagpipe pibroch " 4324:"p|d Set Tunes Series 2013 – collection approaches 150 piobaireachds" 3844:

Volume 1, no. 49. Available online from the Alt Pibroch Club website.

3387:

Comparative tune resources available on the Alt Pibroch Club website.

3322:

Comparative tune resources available on the Alt Pibroch Club website.

2047: 1310:

A related tune was published by Angus Fraser in 1816 with the title "

1044: 662: 2264:

an Irish Pibrach." A pibroch in the Angus MacKay MS Vol 1 entitled "

1642:, the former descended directly from the first Falkirk competition. 5567:(1917), Granville Bantock (composer), available online via youtube. 2003: 7268: 7207: 7152: 7132: 7117: 6805:

Tree of Strings: Crann Nan Teud: A History of the Harp in Scotland

6413: 6411: 5442:, live performance available online via YouTube; Bernard Flinois, 791: 6928: 6871: 5212:

Lament for the Bishop of Argyll" is a fiddle pibroch variant of "

4873:(Bishop of Argyle's Lament)", and Ann Heymann, Alison Kinnaird, " 1824:

Allan MacDonald is a noted composer of new pibroch works such as

1033:

Textual – quotations from song lyrics, usually the opening words.

6756:(1838 ed.). Yorkshire: EP Publishing Limited. p. 183. 6583:

Brown, Barnaby (2005). "The Design of It: Patterns in Pibroch".

5906:"A Parallel between Scottish Pibroch and Early Welsh Harp Music" 5491: 2909:

This song was originally published by Walter Scott as "Lament– (

2498: 1821:(1797 & 1814) that pre-date MacKay's standardised versions. 1639: 1449:/An Intended Lament," also published in Angus MacKay's book as " 6979: 6346:

in Campbell Canntaireachd volumes 2, no. 40, 1797, NLS MS 3715

6092:

Medieval Welsh Bardic Music: Interpreting the Robert ap Huw MS.

5415:, live performance available online via YouTube; Brendan Ring, 5344:"Grant of Sheuglie's contest betwixt his Violin, Pipe and Harp" 4336: 4100: 2602: 1983:

Violaine Mayor is a Breton wire-strung harper who has mastered

1810:

recorded pibroch and chanted canntaireachd on the recent album

7286: 4699:

Ceol Na Pioba (Music of the Pipes) – A Concert of Piobaireachd

4370:

The Campbell Canntaireachd at The National Library of Scotland

3341:

09 – "Lost Pibroch": Introduction to the Set Tunes Series 2009

3046:

by Javier Sainz on a replica Lamont Medieval wire-strung harp.

2973:

in Campbell Canntaireachd volumes 2, no. 53, 1797, NLS MS 3715

1926:

manuscript and from fiddle pibroch compositions documented by

6946: 5014: 4532:, bibliography and discography, on barnabybrown.info. website 6110: 5881:

in its common modern Welsh usage has become synonymous with

5554:

of his "Pibroch Suite" without strictly following that form.

3133:, Edinburgh, 1776; Anna-Jane and Margaret Maclean-Clephane, 2483:. Edinburgh: Mainstream Publishing Co. Ltd. pp. 141–2. 1597:

appreciation in the mid-17th century and became the primary

4456:

Ceol Mor in the Style of Simon and Hugh Fraser of Australia

4218: