Studies in Pibroch – More Urlars

We return now from summer competitions and vacations. A number of projects are in the works, and you will be hearing from more of us in the year ahead. And we will be concentrating our direction on more music, more audio files, more performances, and hope to encourage YOUR contributions, whether in discussion or (preferably) […]

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 2)

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 […]