I admit, I’ve been pretty impressed with some of the electronic bagpipes that I see around, like the Deger Pipes and the Technopipes, but they’re pretty expensive and not especially hackable. Then I stumbled upon the OpenPipe which is a bit more up my alley. The OpenPipe is minimalist. It simply exposes 12 capacitative touch […]
I have been witnessing an interesting experiment: an attempt to allay the fears of those most worried about the tectonic shift being felt in the pibroch world. Most recently, the argument being promulgated by adherents to the status quo is, essentially, that the reason we perform the style of pibroch we do today is because it […]
Putting it all together, here is a recording of my efforts. Please feel free to comment and make suggestions. More importantly: please go out and make your own interpretations! Feel free to submit them here (we will post them)!
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): […]
Rule 3 – Cadences are optional Rule 4 – Crahinins are flexible There are some interesting elements to this song* score that I want to highlight. First, as I mentioned in Part 1, the cadences in the Hannay-MacAuslan score are streaming cadences, not held-E cadences. Next, notice the rhythm of hihararas and hiharins: Now, there’s nothing […]
Rule 2 – Genres are distinctive In the previous post, I called this tune one of the Battlefield Pibrochs. This is a genre classification I have developed that tries to imagine performances in the context of battle. We know pibrochs were used in battles for military purposes: The Argyll Fencibles adopted The Finger Lock for […]
Rule One – Primary Sources are required Another of the Battlefield Pibrochs in the Hannay-MacAuslan collection (the others being the Finger Lock [PS 132] and Cille Chriost [PS 170]), the interpretive tradition of this tune is remarkably distinct. One the one hand, we have the Angus MacKay approach, dominating today’s performances. This interpretive approach is […]