APC Approach 1: PS 171 – End of the Great Bridge (Part 4)

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): […]

APC Approach 1: PS 171 – End of the Great Bridge (Part 3)

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 […]

APC Approach 1: PS 171 – End of the Great Bridge (Part 1)

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 […]

PS 172 – Lament for the Sword, or The Aged Warrior’s Sorrow (for not being able to wield his sword as formerly)

Here is another tune from the Hannay-MacAuslan collection. Over the weeks, I will be posting more recordings, until all 10 songs* have been recorded. Some tunes I will take you through my interpretive process, much as I did for PS 170 (Glengarry’s March).  I probably won’t take you through the level of sausage-making detail I […]