Here are a few other things for your consideration, things you have never seen before (unless you’re a visitor to this site).
First, half grips used as light D-throws:
Second, whatever in the heck these are:
Additionally, this edre to high-A, which has long since been changed to an embari to high-G (following MacKay’s score):
Finally, a couple of thoughts about the taorluaths and crunluaths:
I’ve come to realize that, by respecting the scores, an interesting and new musical dimension to the performance is introduced. It’s one that others may have thought of before, but it was only recently that it dawned on me: a very distinct new phase in the performance is introduced when the compound time structure of these movements is played against ]the earlier, most often common time structure of variation cycles such as the dithis and siubhal.
Just take a look:
This effect is simply lost in modern (read 20th-century) taorluath and crunluath movements. Played as they are today, the variations effectively continue the common time feel of the previous movements. This is not “refinement” (as some have argued). This is repetitive-ness.
Particularly when no urlar returns are played to break up the monotony (not “intensity”) of the unfolding structure, which comes across to audiences as nothing more nor less than increasingly more complex finger exercises. No wonder we are told, “All pibroch sounds the same”: it does. The fundamental rhythmic structure is carried through the entire cycle of motions: it’s all common time.
Rule 6* – Play the urlar refrains
When the compound time structure of the traditional (formerly known as “redundant-A”) taorluaths and crunluaths is maintained, a refreshing change is introduced. Coupled with the re-introduction of urlar refrains, and a truly different experience is encountered, where the audience is taken on musical journey of much greater variability and breadth.
You will see this when I play this pibroch for you.
More to follow…