Monthly Archives: November 2016

Tunes of the Month – December 2016

Here are December 2016’s Tunes of the Month, a 2 part jig intended for novice level players and a 4 part hornpipe intended for intermediate level players.

Novice Level: Kenmure’s on and awa’ = 2 parts of 6/8 March or Jig

Kenmure’s on and awa’ is a 6/8 March that can be found in older collections in addition to Jim McGillivray’s pipetunes.ca. I first heard it in Jig form off of Brian McNeill‘s fiddle on Ed Miller‘s Lyrics of Gold album, an album dedicated to songs of Robert Burns. Ed’s voice is unsurpassed, just like Brian’s fiddle. For how simple it is, it has an excellent melody.

Sheet Music: Kenmure’s on and awa’

Intermediate Level: The Inverness Gathering = 4 parts of 2/4 March, Hornpipe, or Quickstep

I mean, who hasn’t played, or at least heard, The Inverness Gathering? It’s a classic; literally, no composer is ever listed. While it is usually scored as a 2/4 March, David Glen’s version is scored as a 4/4 March (dates somewhere between 1876 – 1900, the publication dates of his Collection of Highland Bagpipe Music). Henderson’s Tutor for the Highland Bagpipe and Collection of Pipe Music, the second edition published between 1918 and 1932, presents a similar setting with a little twist in the 4th part. Page 15 of Scots Guards Volume I has a modern, 2/4 March version of Henderson’s setting. However, I find these settings lacking. Specifically, they succumb to the monotonous ending of every other 2/4 March that ends with a C doubling, low A, birl combination in the 8th bar, and in this case the 7th bar just being what it needs to be to make the C doubling in the 8th bar sound appropriate.

However, we can thank PM W. Norris in 1951 for publishing The Glendaruel Collection which provides a, I daresay, better setting. Better in that the 8th bar starts with an E doubling instead of Glen’s C doubling, all else being the same in the 8th bar. This requires a different 7th bar which is more fluid and musical, i.e. less finger twisty and less technical sounding. Judges might look at you weird, but I would personally play this setting, perhaps with Henderson’s 4th part twist added for flavor. Alasdair Gillies played his own setting with the E doubling ending on the first track of his Lochbroom album. I’ve transcribed his setting for you below.

However, I’m not inclined to actually play the tune as a 2/4 March as listed in these collections. Those familiar with Coin MacLellan’s World’s Greatest Pipers album will recognize what is listed as the Clachnacuddin Hornpipe as just a hornpipe version of The Inverness Gathering. Colin tells me it is an arrangement played by his father John MacLellan, dating back to the mid-20th century. Googling “Clachnacuddin” reveals a connection to Inverness so there’s an obvious connection intended. Hornpipes are also in 2/4 time so it’s not the hardest transition from a 2/4 March, you play it faster and round it out a bit (and much more!). The astute listener will note that Colin’s hornpipe version also utilizes the E doubling ending with the more fluid 7th and 8th bars akin to my preferred Glendaruel version. One can find another hornpipe-like version that has the E doubling ending in James Bett’s A Collection of Pipe Music published in 1899. Colin’s version is very much an average between the Bett and Glendaruel versions, though I am certainly not claiming that was the process for deriving the setting. It certainly stands on its own!

Colin MacLellan has graciously allowed me to share my transcription of his setting of the tune here. Thank you Colin!

Colin MacLellan’s setting sheet music (and the Tune of the Month): Clachnacuddin Hornpipe

Clachnacuddin Hornpipe – 1950 Henderson drones, X-TREME tenors, Rocket bass, Murray Henderson straight cut reed, Prototype chanter, Colin’s setting, Fingers that haven’t played in 3 weeks due to illness.

Clachnacuddin Hornpipe – Same as above but different prototype chanter and different Murray Henderson reed (how consistent), last two notes in the 4th bar of the 4th part a wee bit different

Alasdair Gillies’ setting: The Inverness Gathering

Tune of the Month – November 2016

I love new tunes. The Tune of the Month for November 2016 is Murdo MacGill(i)vray of Eoligarry (I’m told pronounced Yoligarry). This is a 4 part reel that’s pretty easy overall, with a beefy 3rd part that incorporates 2 low A taorluaths and 1 bubbly note from C to B. For Grade IV players, I’ve got a 2 part reel for you: Kate Dalrymple.

Why don’t you learn either of these two tunes with me this month and once you get it down, record it and I can post it to the blog (either with attribution or anonymously)? You can be sure I’ll be posting my progress. I would like to see other people take on the challenge of learning a new tune each month along with me. I think, too often, we get bogged down in perfecting 1 tune for competition, that we forget to get better by playing other tunes. I find my playing gets better the more different music I try to play, not more of the same. Part of this probably has to do with not getting bored with the same old thing over and over again. And, if you don’t finish it within the month, that’s cool; keep at it or not, and I can always add your rendition at a later date. No critique will be made of any recording, it’s just to share. I can link to YouTube videos as well.

Murdo MacGillivray of Eoligarry can be found in Donald MacLeod’s book 3, which you should buy if you haven’t already, or can buy it from Jim McGillivray’s pipetunes.ca. Here’s a link with all the details of where the tune can be found.

Here’s an “instructional” video of the tune on practice chanter:

Kate Dalrymple is a great little 2 part reel that reinforces common reel basics. Here’s my sheet music, although there are many variations available:

Kate Dalrymple -pdf of sheet music

Here’s an “instructional” video of the tune on practice chanter:

Submit your recordings to me via email. Just take my website, patrickmclaurin.com, and stick a @yahoo before the .com.

Happy Piping!

My Progress (I’m only going to critique myself, ABC notation has a scale of GABcdefga and anything in {} are grace notes):

Murdo MacGillivray of Eoligarry 2016-11-06 – need to hold the C note in the “{g}c{d}A{e}A” phrase at the end of lines, need to clean up “A{d}c” movements and watch for crossing noises.


Murdo MacGillivray of Eoligarry – 2016-11-08 – 7:16 and 10.5 MB of me fine tuning the tune; trying to hold the 2nd low A in “A<{d}A” in the 1st and 3rd bars of the 1st and 2nd parts; trying to hold high As in the 2nd part; trying to hold F and E in the 4th part; still trying to hold the Cs at the end of lines; need to not come off the end of the line so quick; bubbly note a bit mushy; grip in the 2nd part a bit labored


Jeannie Carruthers, Susan MacLeod, Murdo MacGillivray of Eoligarry – 2016-11-21 – Need to omit the pickup into Eoligarry and break right into it.


Kate Dalrymple – Patrick


Kate Dalrymple – David Glen – don’t let those taorluaths sneak up on you, haha!


Kate Dalrymple – JR Glen – this version is AWESOME, I think there’s a typo in the music = the 1st ending of the 2nd part should be “d2 fd” instead of “d2 fe”, it sticks out in the recording something awful.

Contributed Recordings:

None so far!

Colin Kyo pipes tied into an “old” L&M bag

When I first acquired my Colin Kyo bagpipes from a friend they were “tied” into a grommetted Gannaway bag. At the time this did not bother me. On a tangent, I’ve longed neglected my old Henderson pipes due to difficulties with reeding the drones. With X-treme tenor reeds, a short, inverted Ezeedrone bass reed, and a new bass bottom with a bigger bore the Hendersons have been singing tied into an old L&M bag I got off of someone for $50. So, I’ve been playing my old Hendersons a lot. In addition, my Glencoe and Terry sets are also both tied into old L&M bags. I LOVE THEM. Anyways, my Colin Kyo pipes weren’t being used much due to the bag issue as I came to dislike the bulk of the grommets on the Gannaway. So, on the hunt for old L&M bags I came across one that never even had the holes cut. Sweet! So, I’m set to go now. And they sound fantastic with their new bag.

The problem started when I thought a live Facebook broadcast of a practice session of me playing my newly set up Colin Kyo bagpipes was a good idea. Lots of people tuned in, but when I went back to listen to it, there was a lot of audio quality loss. This was a Facebook thing as I guess they think video is more important. The source of the audio was my Zoom H2 recorder wired into the lightning port of my iPhone via a Blue Mikey Digital. So, this post is to offer the audio simultaneously recorded by my Zoom H2 during that session so you can hear what the pipes really sounded like. I haven’t included all the recordings because the first few were during warm up and had me sorting the chanter tuning. I last played the chanter with the bag unseasoned and so it was setup for a wet reed (pushed farther in the seat), but the bag having been seasoned since then left the reed dry and therefore sharp, and then flat because I pulled it out too much, and then just about right.

Colin Kyo drones + Colin Kyo chanter + regular Ezeedrone reeds + 5+ year old Gilmour chanter reed that just won’t quit.

Kind of Laois & Rakes of Kildare

Mo Ghile Mear, Neili’s Polka, & Ger the Rigger

Angus MacKinnon & Frank Thompson

The Big Yin & Picnic in the Sky

Patrick O’Connor’s & Tom Billy’s Polkas – picked these up from Jerry O’Sullivan at the Spanish Peaks Piping Retreat