This has been a remarkable journey of discovery! As is usual in any encounter with Campbell, we as musicians are taxed to the utmost of our skills, intuition and capability to interpret and bring forth[…]
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Category: Learning Interpretations
Mac Mhic Alister’s Dead Lament - Part 3
The next motion in this pibroch is ambiguous, and requires of us a musical decision. The “Taolive Gear” motion is written by Campbell as such: This allows for a variety of interpretation. “Hindaento” - at[…]
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The End of the Little Bridge: Gesto’s setting – Part 1
Gesto’s setting of this battle tune presents rich opportunities for a creative artist. There are so many options! I find it alarming how quickly we become attached to one interpretation. What we come up with[…]
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Mac Mhic Alister’s Dead Lament - Part 2
Featured in the APC Guide to Pibroch, I am currently working through the piece in order to perform it next year at a number of venues. And, in the spirit of Learning Living Pibroch, I[…]
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The Barrie Orme Tapes of the Simon Fraser Playing Style
Robin Andrew’s excellent series on George Moss calls to mind another 20th century piper, Dr. Barrie Orme, whose playing style also lay outside the mainstream and seems to represent a survival of earlier practice. It[…]
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George Moss - the Master Piper from Strathglass Part 6
Struan Robertson’s Salute and more about Rhythm In The Piobaireachd by Ian M’Lennan the author states that Most pipers are of the opinion that Ceol Mor cannot be timed and marched to… The Piobaireachd should be played[…]
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George Moss - the Master Piper from Strathglass Part 5
“Cadences” and Anacruses The time has come to explore George’s approach to the somewhat thorny issue of so called “cadences” in Pibroch. Peter Cooke, in his own transcriptions of George’s playing (see here) places the introductory[…]
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