I’ve been listening to Mick O’Brien & Caoimhín Ó Raghallaigh’s album “Kitty Lie Over” for quite some time, primarily for the title track. However, the tune (and track) An Londubh (played as a hornpipe and reel on the album) stuck out as one that would definitely fit on the highland pipes (they play it on uilleann pipes and fiddle). Here it is on YouTube:
A gander over at the sheet music on thesession.org reveals that even after transposition from D major (because it falls below our scale) up to A major (and turning all resulting G# into G naturals), the tune has a second part that then goes above our scale. But never mind that, as it’s not too tricky to rewrite something passable and that’s just what I’ve done. You can too if you don’t like what I’ve got.
Allan MacDonald and Margaret Stewart’s album opens with this tune, a lovely rendition of I Got A Kiss Of The King’s Hand. It is also heard many times as a warm up tune in all the live-streamed piping contests. More recently, it was employed as the air in the St. Thomas Alumni’s medley in the grade 2 final at the 2018 World Pipe Band Championships. So, I wrote it down and now I’m sharing it with you. It doesn’t really follow the score you’d find in the Kilberry book, for instance, but a resemblance to the ground can’t really be denied. I have truncated them name to just the first part of the Gaelic name, so I think we’ve just got the “I got a kiss” part.
Fhuair Mi Pòg < ze sheet music (This has been updated [8-22-2018] because I originally wrote it in 6/8 and it’s much easier to understand in 3/4 time. My bad.)
July’s tune of the month has been a long time coming. I often feel inspired by a particular tune and so it’s an easy decision. But so far, no inspiration has slapped me upside the head. On another note, I often flip through the new arrangements of mostly Irish tunes that are published on thesession.org in search of new tunes that fit the highland pipe scale. I ran across one called the Curragh Races, which turned out to be a tune I already learned from Jerry O’Sullivan at the Spanish Peaks Piping Retreat workshop a couple of years ago but by a different name: Maid in the Cherry Tree. What is provided here is a collection of various arrangements to make 4 parts, mostly inspired by those arrangements found on thesession.org, with some spots wholly rewritten; and I hope you do the same: make the tune your own!
Dusky Meadow is a strathspey that originates from Cape Breton, as I understand. Its range technically exceeds that of pipes that utilize highland fingering, but it is easy enough to move octaves around to make it fit on our standard scale. Unlike many strathspeys that utilize triplet runs, Dusky Meadow has quadruplet runs with each note having the same length instead of emphasizing the 2nd or 3rd note as common in many triplets. These quadruplets become very cumbersome if gracenotes are added to them, even just to start them off. The way I hear them, they come across as embellishments unto themselves with no further embellishment needed. However, if the rest of the tune is peppered with “standard” gracing the quadruplets stand out like a sore thumb. It turns out, less is more.
I play the tune on the smallpipes in the video below. It is often stated that highland pipe tunes played on the smallpipes could use some trimming to remove excess gracenotes. Smallpipes increase in volume going up the scale as opposed to highland pipes which decrease in volume. This increase in volume at the top of the scale results in lots of chirpy high G gracenotes on top of relatively quiet lower notes if highland tunes go unmodified which ultimately detracts from the melody. Thus, gracenotes must be used judiciously to accent and enhance the melody. The following arrangement has a total of 1 or 2 gracenotes per bar excepting birls (purposefully without preceding high G gracenotes) and high A half doublings. Additionally, those gracenotes accent the more interesting twists the tune takes. While I can’t say I’m going to purposefully rearrange every tune I know to use fewer gracenotes so that the ones I do play have more impact (less is more), this tune has certainly forced me to reevaluate why we use gracenotes and how they should be used.
I was listening to Alasdair Fraser and Natalie Haas’ Stirling Castle set which contains Jenny Dang the Weaver, one of the coolest reels ever. So I arranged a version for myself and thought about posting that as the tune of the month, but it is already a fairly common tune. But in studying all the old settings available at Ceol Sean you run across a bunch of other cool tunes on the same page! One really cool tune was the Marquis of Tullibardine’s Reel. While David Glen’s version of Jenny Dang the Weaver is rather lacking, his is the best arrangement of Marquis; except that the ending shared by all versions is super lame. Such a great tune debased by its ending. So, I rewrote the ending! Perhaps you can come up with something better than I did?
I forgot to publish a tune of the month at the beginning of March! That, combined with a request for sheet music and today being St. Patrick’s day, brings you a jig I associate with the Irish music tradition: Fraher’s Jig. What you’ll find below is a myriad of arrangements that I’ve collected or written myself.
The Tune of the Month series quickly stopped being a vehicle to promote competition tunes not long after it was started. What it turned into was, “Hey, look at this cool new session/kitchen piping tune I found!” So, while Fraher’s Jig isn’t new to me, it does give me the opportunity to point out the need for variability in our arrangements. Non-piping audiences need us to play through tunes as least twice/thrice! They need to be given the opportunity to get into the groove so as to understand the tune. It is then imperative for us to explore all the possible ways to play a tune and still be playing the same tune! It’s akin to composing a new tune, except that the theme is already set, we just need to find all the variations. What variations can you find in the music you already play?
Fraher’s Jig < PDF sheet music (you’ll see some harmony at the end that corresponds with some mucking about I did in Apple’s Garageband a long time ago, in a galaxy far, far away.)
Back when I played “A” smallpipes in an Irish session, one of the tunes I could play along with was the High Reel. I believe the whole set of tunes I would play were the High Reel, Dinky Dorian’s, and Dick Gossip’s. It’s been ages since I’ve played the High Reel and I felt it needed an update so I changed the arrangement a tad and subsequently figured it would make a good tune of the month.
I originally came across this tune on one of the albums I listened to as a teenager when I was learning the bagpipes. I’m surprised the tape still works I played it so many times! The album is “Proud Heritage” by The Pipes and Drums and Military Band of The Royal Highland Fusiliers. The tune title is given as The 74th’s Slow March on the album but the original tune is credited in the liner notes. The arrangement below is a slightly modified version of the tune as presented on the album. 6/8 time seemed best when transcribing, though the original published source as linked above is in common time (4/4).
All the albums I listened to while learning had a big affect on my resulting repertoire, and this album was no exception. P/M Gavin Stoddart’s solo MSR of 74th’s Farewell to Edinburgh, Shepherd’s Crook, and Lochiel’s Away to France is a favorite, I love all 3 of these tunes.
December’s tune of the month is a favorite of mine, though I believe it is best suited to smallpipes. Regardless, Johnny and Ali’s march is a fine reel. It was composed by Brian McAlpine for the wedding of Johnny and Ali. However, within the week after the wedding, Johnny passed away. Brian then sent out a general call for anyone capable to record the tune and send him the audio file, all to be compiled together in an effort to bring a positive vibe and joy to the tune. The combined track can be heard on Brian’s SoundCloud.