============================================================================= = Scales and Modes in Scottish Traditional Music = = v1.27 14/02/2009 = = Jack Campin = ============================================================================= The descriptions of scales in music textbooks oriented towards Western art music usually give a misleading idea of the way they are used in Scottish traditional tunes. There are better accounts, like the "Mode" article in the "New Grove Encyclopaedia of Music" or in some texts on jazz harmony, but these include extra material of no relevance to Scottish idioms. This document is intended to help Scottish traditional musicians undo some of the damage done by high-school music teachers while not taking off into irrelevant side-issues. All the theory here is illustrated by real, and I hope interesting, Scottish traditional music. The examples are a mix of very familiar tunes and little-known music from quite obscure sources, to provide something for everybody. They come from all parts of Scotland, all recorded periods and all genres of Scottish music. Why would you need to know about scales and modes? * if you play a diatonic instrument, like a whistle or mouth organ, knowing exactly what notes you'll need to find tells you whether or not you can play a tune. * if you play an instrument like the multiple mouth organ or lever- sharpened clarsach, which makes switching between different diatonic scales a relatively slow operation, it can help you plan easier ways to play tunes or sets. * some of the most dramatic effects in Scottish music are achieved by creative use of its distinctive modes and this helps you understand how it's done. * knowing the modal structure of a tune can help you memorize it. * if you are creating an accompaniment, this information can help you find chords that fit the melody better. * it can tell you something about the style and history of a tune. * it can help you spot copying mistakes. * it can help you plan sets of tunes that go well together, musically and practically. * it can help you get the idiom right when composing new tunes. * it can help you improvise, either alone or with other players. In a global context, the last is by far the most important. Most of the world's traditions of improvisation are based around modal systems: those of India, the Middle East, China, or West Africa. All of these musical cultures have a choice of modes to give variety, and players decide on which modes they will improvise in before they start playing; without this a group performance could not produce a coherent effect. Scottish music is not very improvisational, and a more important use for the modal system is to produce a coherent sound when it is played by a group, just as it does for the equally pre-composed gamelan music of Indonesia. I'm going to assume you can handle ABC notation, either by reading it directly, printing it out as staff notation, or getting your computer to play it for you. This document was developed with Phil Taylor's BarFly for the Macintosh. When viewing it with that program, for the most part you'll want to view it in text mode, and with the "Highlight note played" option set: that will let you see exactly what's happening in a tune by animating the playback. As far as I know there is no DOS, Windows or Unix program for ABC that animates either ABC source or staff notation, but most ABC programs should be able to play the examples; they almost all meet the ABC 1.6 standard. (There may be problems with ABC Navigator, which doesn't implement the 1.6 standard for modes correctly - if your ears say there's something wrong when using that program, there probably is). This ***MUST*** be displayed in a monospaced font. I've laid out the tunes in such a way as to make the structure clear when viewing them as ABC; in some cases, depending on the staff notation software, this will make the music oddly cramped or spread-out when viewed as dots, and you'll need to edit the linebreaks in a copy of the source to make a useful paper version. This goes for BarFly too. The tempi are sometimes meant to be taken seriously, are sometimes wild guesswork, and I'm not saying which is which. I use the "G:" header field (not used much in ABC files on the web) to mean "genre" - this is often used where other people use the "R:" field, but I find that "R:" has such unpredictable and implementation-dependent effects with Scottish rhythms that it's better avoided entirely. This file may only be redistributed complete and unchanged, either in computer-readable or paper forms. In particular, please don't extract these tunes into any other ABC tunes database. Since the point of this document is to analyze them, the copyrighted ones (of which there are several) are covered by the fair-use doctrine; they won't be if you simply re-anthologize them without permission from the copyright holder. This document may not be used or recommended as a teaching aid for any course requiring fees from the students without my permission. I've removed most of the articulation and gracenotes from the tunes; the point is to make them as readable as possible in ABC source, and some old software can't handle this detail. If you want the full details and don't have access to a print source, email me. This has been improved by helpful comments from Laura Conrad, Laurie Griffiths, Henrik Norbeck, Julia Say, Phil Taylor, and Peter Wilton. Contents ======== 1. Seven-Note Modes 1.1. Pitch Sets 1.2. The Major Mode 1.3. The Dorian Mode 1.4. The Mixolydian Mode 1.5. The Minor Mode 1.6. The Phrygian Mode 1.7. The Lydian and Locrian Modes 1.8. Summary of the Heptatonic Modes 2. Hexatonic Modes 2.1. The Hexatonic Pitch Set 2.2. The Major/Mixolydian Hexatonic Mode 2.3. The Dorian/Minor Hexatonic Mode 2.4. The Mixolydian/Dorian Hexatonic Mode 2.5. The Lydian/Major Hexatonic Mode 2.6. The Minor/Phrygian Hexatonic Mode 2.7. Summary of the Hexatonic Modes 3. Pentatonic Modes 3.1. The Pentatonic Pitch Set 3.2. The Mixolydian/Dorian/Minor Pentatonic Mode 3.3. The Dorian/Minor/Phrygian Pentatonic Mode 3.4. The Lydian/Major/Mixolydian Pentatonic Mode 3.5. The Major/Mixolydian/Dorian Pentatonic Mode 3.6. Summary of the Pentatonic Modes 4. The Big Picture 5. Misleading Final Notes 6. Multiple Modes in the Same Tune 7. Leading Notes and Alternate Rising/Falling Modes 8. Relative Mode Shifts 9. Other Key Changes 10. More on Bagpipes and Other Limited-Range Instruments 11. From the Renaissance to Ancient Sumeria 12. Tetrachords and Pentachords 13. Oddities 14. Cheating 15. Getting It Wrong 16. Outwith Scotland 17. Tonally Un-Scottish Scottish Music 18. Cautionary Notes 19. References 1. Seven-Note Modes == ================ 1.1. Pitch Sets ==== ========== Nearly all Scottish tunes are based on the usual Western 7-note scale, or on scales that leave one or two notes out of it. These scales are made by selecting seven notes from the 12 in an octave according to the pattern of the white notes on a keyboard. The white notes also have names in tonic sol-fa. This table describes this pitch set adding the intervals between successive notes (T for tone, S for semitone): 1 2 3 4 5 6 7 8 9 10 11 12 C D E F G A B do re mi fa so la ti T T S T T T S I'm going to use some slightly unusual terminology to avoid unnecessary confusion; the usual language of music theory makes for muddle when used to discuss Scottish folk music. This will make the next few paragraphs into a bizarre exercise in saying obvious things in a very eccentric way, but it gets clearer later on. (Note to sol-fa users: British (Curwen) sol-fa allows the pitches to be transposed for different keys, whereas some Continental systems don't. Here, do will always be C, which fits both systems). An ABSOLUTE PITCH SET is a collection of notes chosen from the 12 available that may be used in some order or other to make tunes. I'm deliberately not calling these "scales". X:0 T:The Chromatic Pitch Set and the Diatonic White-Note Pitch Set M:12/4 L:1/4 K:C C ^C D ^D E F ^F G ^G A ^A B || "_do"C z "_re"D z "_mi"E "_fa"F z "_so"G z "_la"A z "_ti"B|] The intervals between the white notes of the piano follow a sequence, in ascending order: tone, tone, semitone, tone, tone, tone, semitone. This pattern is a RELATIVE PITCH SET. The pattern can be started at (transposed to) any point of the 12-note chromatic scale: since the pattern is asymmetrical, it gives 12 different absolute pitch sets. I'll name them after the number of sharps or flats in each, with sharps as positive numbers and flats as negative: X:0 T:The 12 Diatonic Pitch Sets M:7/4 L:1/4 K:C "^-5"_A _B c _d _e f _g||\ "^-4"_A _B c _d _e f g||\ "^-3"_A _B c d _e f g|| "^-2" A _B c d _e f g||\ "^-1" A _B c d e f g||\ "^0" A B c d e f g|| "^+1" A B c d e ^f g||\ "^+2" A B ^c d e ^f g||\ "^+3" A B ^c d e ^f ^g|| "^+4" A B ^c ^d e ^f ^g||\ "^+5"^A B ^c ^d e ^f ^g||\ "^+6"^A B ^c ^d ^e ^f ^g|] Usually these are written by putting the sharps and flats at the start of each line, as they won't change: X:0 T:The 12 Diatonic Pitch Sets (as key signatures) M:7/4 L:1/4 K:Db "^-5"A B c d e f g||\ K:Ab "^-4"A B c d e f g||\ K:Eb "^-3"A B c d e f g|| K:Bb "^-2"A B c d e f g||\ K:F "^-1"A B c d e f g||\ K:C "^0 "A B c d e f g|| K:G "^+1"A B c d e f g||\ K:D "^+2"A B c d e f g||\ K:A "^+3"A B c d e f g|| K:E "^+4"A B c d e f g||\ K:B "^+5"A B c d e f g||\ K:F# "^+6"A B c d e f g|] The first one and last two are never used in Scottish music except by solo singer/guitarists with capos. Since the music is never written that way, I won't use them in this document - all key signatures will range between four flats and four sharps. An important pitch set in Scottish music is that of the Highland bagpipe chanter, which has nine notes using two sharps: X:0 T:Notes of the Bagpipe Chanter M:9/4 L:1/4 K:C G AB^cd e^fga|] A pitch set is just a selection of notes you can use in a tune; any real tune will not just have an absolute pitch set, but also a TONAL CENTRE, FINAL, or HOME NOTE, which is the pitch in the set that the tune wants to end on (and usually does, except for some oddities like circular dance tunes). "Wants to end on" is vague, and there is no good way to make it fully precise. Guitar accompanists and other people thinking in terms of "common practice" harmony, where every part of a melody is seen as having an associated underlying chord, will decide the tonal centre by figuring out what chord sounds best as a close for the tune, or if it doesn't close in a straightforward way, the one that seems most important to accompanying it. But not all Scottish tunes have reasonable chordal accompaniments. The combination of an absolute pitch set and a tonal centre make up a KEY (this is an unusually narrow way to use the word, but I'm going to stick to it here). This is the same notion of key that ABC uses; what you write on the "K:" line in the header. Other musical idioms use different relative pitch sets; it's worth giving an example. A scale found in Arabic. Persian and Turkish music is called "hijaz" (named after a region of Arabia, but for no good reason): X:0 T:The Hijaz Scale M:10/4 L:1/4 K:DMix D2 _E^F GA _Bc d2|d2 c_B AG ^F_E D2|] There is no way to get that from the Western choice of seven notes. X:0 T:The Chromatic Pitch Set and the Hijaz Scale M:none L:1/4 K:C D2 _E E F ^F G ^G A _B B c d2|| D2 _E z z ^F G z A _B z c d2|] If you were to make a piano that let you play the hijaz scale on the white keys, you'd end up with a pair of black keys side by side for E natural and F natural, and with F sharp and B flat on white keys, with no black key separating each from the G above and A below. The piano keyboard wasn't designed in the eastern Mediterranean. It was designed culturally near enough to Scotland to work for Scottish music. Here's a tune example, an Egyptian love song often used for dancing: X:0 T:Ah Ya Zayn M:2/4 L:1/16 Q:1/4=100 K:DMix % hijaz FG|A6 FG|A6 FG|A_BAG ABAG|F6 A2|G6 FG|A_BAG F_ED2|AGGF F_EED|D_EFG A2 _BA|G6 FG|A_BAG F_ED2|AGGF F_EED|D2 z4 |] In Arabic notation, the key signature would have both one sharp and two flats; not many ABC implementations can do that at present, so I've used accidentals. And a tune from the other end of the Mediterranean - Ravel got the scale from Spanish folk idiom: X:0 T:Bolero (second theme) C:Maurice Ravel M:3/4 L:1/16 Q:1/4=72 K:C % hijaz _b4- bagf bc'ag | _b2ag b4 abag- |\ g4- gfed e4- | e4 z2_b2 c'2_d'2-|\ _d'2 d'4 d'2 d'2d'2|(3_d'2d'2d'2 d'2c'_b d'2c'b | _d'c'_b_a gfe2- e4- | e8- e2z2 |\ d6 e2 def2- | f4 g2_a2 (3f2g2e2 |\ dedc- c2_B2- B4- | _BcBc dedc dcB_A | _B_AG2- G2F2- F4- | F4- FGF_E- E4- |\ _E4 FEF_D- D4- | _D4- DD_ED FEDC- |\ C2z2 z4 z4 | z4 z4 z4 |] Here is an example of varying the tonal centre using the pitch set of the hijaz scale. It begins in hijaz (with tonal centre D) but the "bridge" passage shifts the centre to G, to get a scale known as "nahawand" in Arabic and "nihavent" in Turkish. (The tune is usually thought of as Jewish, but I've seen it claimed for North Ossetia). X:0 T:Hava Nagila M:C L:1/8 K:DPhr D2 D3 ^F(3:2:2E2D|^F2 F3 A(3:2:2G2F|G2 G3 B (3:2:2A2G|^F2 E/D/E [1 ^F4:|[2 D4|| ^FF2E DD D2 | EE2D CC C2 |CE2D CC G2 |^F2 E/D/E [1 ^F4:|[2 D4|| G4 B4 |G2 B2 A2 G2||\ G/G/G B>A GB AG |G/G/G B>A GB AG | A/A/A c>B Ac BA |A/A/A c>B Ac BA |\ A/A/A d2 A/A/A d>D|DD B/A/G/^F/ G4 |] Another example from outside Scottish music is the six-note WHOLE-TONE relative pitch set. This is used in some folk music from Eastern Europe, but is most familiar as used by French composers of the early 20th century. Unlike the white-note scale, it's symmetric: there are only two whole-tone absolute pitch sets, each taking half of the notes of the chromatic scale: X:0 T:The Two Whole-Tone Scales M:9/4 L:1/4 K:C C2 D E ^F ^G ^A c2| c2 ^A ^G ^F E D C2|| ^C2 ^D F G A B ^c2|^c2 B A G F ^D ^C2|] The symmetry means that none of the six notes has a distinctive position in these scales. The result is that there is no tonal centre; whole-tone melodies wander around randomly and could stop anywhere in the scale. By contrast, Scottish music nearly always has a single tonal centre, and the pitch sets it uses make it easy to locate. Because the diatonic pitch set has an asymmetric pattern, you can always tell where the tonal centre goes if you transpose it. A relative pitch set and a tonal centre together make up a MODE. Only four of the seven notes in the relative pitch set are often used as a home note in Scottish music; as they appear in the white-note absolute pitch set, these are C, D, G and A (do, re, so and la). Two more (E and F) are worth knowing about to build a clear and simple system describing the whole Scottish repertoire. The names given to these modes in Western music theory are about 1000 years old and make no sense at all. They are named after places in Greece; this is because ancient Greek music theorists had an idea (mostly wrong) that each part of the country had its own special mode. The mediaeval European theorists then confused things even further; they thought they were writing about the same modes as the ancient Greeks but systematically misinterpreted what the Greek theory said. After 1000 years it's a bit too late to think about changing this, so I'm going with the flow. 1.2. The Major Mode ==== ============== The commonest mode in all the traditional musics of the British Isles is the MAJOR mode ("ionian" to the mediaeval theorists, "chargah" in Turkish music theory, "bilaval" in the music of North India, "sankarabharana" in Carnatic music). In this scale the "1" pitch (C in the white-note scale) is the home note. One common way of describing a scale is by the sequence of intervals that occur in it as you ascend it for an octave; in the major scale, this sequence is tone-tone-semitone-tone-tone-tone-semitone, or TTS TTTS in the abbreviated form I'll use from now on. Using the sol-fa "do re mi" system, it is sometimes called the "do-mode" and goes like this: X:0 T:The Major (do) Scale M:10/4 L:1/4 K:C "_do"C2 "_re"D "_mi"E "_fa"F "_so"G "_la"A "_ti"B "_do"c2 |\ "_do"c2 "_ti"B "_la"A "_so"G "_fa"F "_mi"E "_re"D "_do"C2|] Here's an old song, adapted by Burns, where the home note is G, so there is one sharp: X:0 T:Duncan Gray G:song M:C L:1/8 Q:1/4=120 K:G DG FG AB F2|G2 A>c BG G2:| Bd dc/B/ cc c2|Bc/B/ AG FE D2 | DG FG AB F2|G2 A>c BG G2:| Another tune popularized by Burns: X:0 T:Corn Rigs G:song or reel M:C| L:1/8 Q:1/2=108 K:A E2|A3 B c2BA|G3 A B2E2|A3 B cdBc|A2 e4 E2| A2e2 fedc|dcBA GABG|FGAF BAGF|E2 A>B A2 || E2|A2e2 cde2|G3 A B2E2|A2ed cdBc|AB cd e2A2| A2e2 fedc|dcBA GABG|FGAF BAGF|E2 A>B A2 |] Here's a jig from around 1800 where the home note is D in the scale with two sharps: X:0 T:Miss Sally Hunter of Thurston S:The Beauties of Niel Gow C:Nathaniel Gow M:6/8 L:1/8 Q:3/8=120 K:D A|DFA d2A|B2A d2A|Bcd efg|efd cBA | DFA d2A|B2A Bcd|egf edc|d3 D2 :| g|fed g2e|a2f b2g|fef def|efd c>BA| fed g2e|a2f g2B|fga Adc|d3 d2g | fdf geg|afa bgb|afd Bcd|efd cBA | DFA d2A|B2A Bcd|egf edc|d3 D2 |] A reel from the Borders: X:0 T:The Randy Wife of Greenlaw G:reel S:Sarah Northcott M:C| L:1/8 Q:1/2=100 K:D c|d2AG F2Dc|d2fd eBBc|d2AG F2DF|GBAG FDD :| c|d2df abaf|gefd eBBc|d2df abaf|geaf (3ddd dA| d2df abaf|gefd eBBc|dfce BdAF|GBAG FDD |] A children's song, originally from Newcastle, which has been widely used as a Scottish dance tune: X:0 T:Weel May The Keel Row G:song S:Gall and Inglis, Select Songs of Scotland M:2/4 L:1/8 Q:1/4=120 K:G D|B>B GB |c2 Ac |B>B GB |AF DD|BB GB |c2 Ac |B>G A>F|G3:| c|B>d dg |e2 dc |B>G GB |AF Dc|B>d dG AF |G3:| z|B2 G>B|c2 A>c|B2 G>B|AF D2|B2 G>B|c2 A>c|B>G A>F|G3:| And a pipe march, which during World War 1 was adapted for the familiar (and awful) song "The Road to the Isles": X:0 T:The Bens of Jura C:John McLellan B:8th (The Argyllshire) Battalion Argyll and Sutherland Highlanders: A B:Collection of Pipe Tunes (Paterson's Publications Limited, July 1933) N:I suspect that more dotted figures were intended than were printed M:2/4 L:1/16 Q:1/4=80 K:D A>d|f4 agef|d2A2 A2dc|BGBc defa|e4 e2Ad | f4 agef|dedc B2ag|fafd Acec|d4 d2 :| f>g|aAAA fAAA|dedc B2dc|BGBc defa|e4 e2 [1 fg| aAAA fAAA|dedc B2ag|fafd Acec|d4 d2 :| [2 A>d|f4 agef|dedc B2ag|fafd Acec|d4 d2 |] Transposed forms of this mode are: X:0 T:Major (do) Scales L:1/4 M:10/4 K:Ab "^A flat" A2 Bc de fg a2|a2 gf ed cB A2|| M:10/4 K:Eb "^E flat" E2 FG AB cd e2|e2 dc BA GF E2|| M:10/4 K:Bb "^B flat" B2 cd ef ga b2|b2 ag fe dc B2|| M:10/4 K:F "^F" F2 GA Bc de f2|f2 ed cB AG F2|| M:10/4 K:C "^C" C2 DE FG AB c2|c2 BA GF ED C2|| M:10/4 K:G "^G" G2 AB cd ef g2|g2 fe dc BA G2|| M:10/4 K:D "^D" D2 EF GA Bc d2|d2 cB AG FE D2|| M:10/4 K:A "^A" A2 Bc de fg a2|a2 gf ed cB A2|| M:10/4 K:E "^E" E2 FG AB cd e2|e2 dc BA GF E2|] For comparison, it may be useful to describe these modes by the sequence of pitches occurring in each one when the home note is fixed: I'll use A, since this is one of the commonest tonal centres in Scottish music and is the home note of the pipe chanter. The major scale for A is AB^cde^f^ga. Another way to compare different scales is to pick a fixed absolute pitch set and say which note in it becomes the tonal centre; I'll use the pitch set of the pipe chanter. "The Bens of Jura" uses every note it has, centring on D, and pipers sometimes call the major mode the "D mode". Because the word "mode" is used in other ways in this document, I'll say the D major scale is the "D-final" seven-note mode on the chanter. X:0 T:The Major Scale (D-final) on the Pipe Chanter M:none L:1/4 K:Hp d2 efgagfe d4 x d2 cBAGABc d4|] 1.3. The Dorian Mode ==== =============== The DORIAN mode has pitch 3 (D in the white-note scale) as its home note, with interval sequence TST T TST. In A, it's ABcde^fga. In sol-fa parlance it's the re-mode. X:0 T:The Dorian (re) Scale M:10/4 L:1/4 K:DDor "_re"D2 "_mi"E "_fa"F "_so"G "_la"A "_ti"B "_do"c "_re"d2 |\ "_re"d2 "_do"c "_ti"B "_la"A "_so"G "_fa"F "_mi"E "_re"D2|] It's found in song tunes throughout the British Isles. X:0 T:Andro wi his Cutty Gun G:drinking song S:MacColl, Folk Songs and Ballads of Scotland M:3/4 L:1/4 Q:3/4=72 K:D Dorian A3 |(D2 E)|(FB B>A|BG F2 |(ED) B,>E| E2 BA|G>E F>D | E2 E2 | B>B d2 |c>c B2 |E>B B>B |(AE | E2 B2 |AE F>D | E2 E2 || B2 d>d|cB BA|G>E (FA|B2 E2 E2 A>G|F>GE>F D2d>e|f>ed>B dF|B2 E2 E2:| F>E|D2 d2 d2 B>c|d>ed>B A2d>c|B2 e2 e2 e>f|g>fe>d B2 d>e|f2 (3agf e2 (3gfe|d>ed>B A2d>e|f>ed>B dF|B2 E2 E2|] X:0 T:My Daughter Shilo S:James Thomson's MS for the treble recorder, 1702 B:David Johnson, 21 Scots Tunes for the Treble Recorder N:extensive ornamentation omitted, see Johnson's edition N:I think I've come across this tune from N:an American source, anybody recognize it? M:3/4 L:1/8 Q:1/4=80 K:GDor Ac|d2 d2 cA |f2 e2 d2 |cd cA GA |F3 G A2| d2 fd cA |f3 g a2 |F3 G A/G/F|G4 Ac|d2 d2 c>A|f2 f2 ef |g2 g2 fg |a2 ba gf| d2 fd cA |fg g2 f/g/a|F3 G A/G/F|G4 |] X:0 T:Sleep Soond i da Mornin G:Shetland reel M:4/4 L:1/8 Q:1/2=112 K:ADor BG|Aa-ag a2ef|gedB GABG|Aa-ag a2ef|gedB A2 BG|Aa-ag a2ef|gedB GABG|Aa-ag a2ef|gedB A3|| B|cAeA cAeA|BcdB G3G |cAeA cAeA|BAGB A3 B|cAeA cAeA|BcdB G3B |ABcd efga|gedB A2|] It was always one of the commonest modes for religious music, and not just in Catholic Europe, as in this 16th century Scottish psalm tune, which must be a good candidate to be the most-sung tune in Scottish history: X:0 T:Martyrs G:psalm tune M:2/2 L:1/2 Q:1/2=80 K:DDor D|FD|AF|ED|A||A|cA|Bd|A2-|A|| A|cG|AF|ED|A||c|BG|BA|D2-|D|] The transposed versions of Dorian are: X:0 T:Dorian (re) Scales L:1/4 M:10/4 K:BbDor "^B flat" B2 cd ef ga b2|b2 ag fe dc B2|| M:10/4 K:FDor "^F" F2 GA Bc de f2|f2 ed cB AG F2|| M:10/4 K:CDor "^C" C2 DE FG AB c2|c2 BA GF ED C2|| M:10/4 K:GDor "^G" G2 AB cd ef g2|g2 fe dc BA G2|| M:10/4 K:DDor "^D" D2 EF GA Bc d2|d2 cB AG FE D2|| M:10/4 K:ADor "^A" A2 Bc de fg a2|a2 gf ed cB A2|| M:10/4 K:EDor "^E" E2 FG AB cd e2|e2 dc BA GF E2|| M:10/4 K:BDor "^B" B2 cd ef ga b2|b2 ag fe dc B2|| M:10/4 K:F#Dor "^F sharp" F2 GA Bc de f2|f2 ed cB AG F2|] On the chanter, it's the E-final seven-note mode, but is not very common in pipe music: X:0 T:The Dorian Scale (E-final) on the Pipe Chanter M:18/4 L:1/4 K:Hp e2 fgf e2 dcBAGABcd e2|] X:0 T:Donald Blue G:march S:Scots Guards pipe tune book M:2/4 L:1/8 Q:1/4=88 K:EDor d>B G>B|dB cA|d>B G>B|AB e2 | d>B G>B|dB cA|B>A G>B|AB e2:| B>B g>e|dB cA|B>B g>e|dB e2 | [1 B>B g>e|dB cA|B>A G>B|AB e2:| [2 e>f g>e|dB cA|B>A G>B|AB e2|] 1.4. The Mixolydian Mode ==== =================== The MIXOLYDIAN mode has semitone 6 as its home note (G in the white-note scale); interval sequence TTS T TST. In A, it's AB^cde^fga. In sol-fa, it's the so-mode. X:0 T:The Mixolydian (so) Scale M:10/4 L:1/4 K:GMix "_so"G2 "_la"A "_ti"B "_do"c "_re"d "_mi"e "_fa"f "_so"g2 |\ "_so"g2 "_fa"f "_mi"e "_re"d "_do"c "_ti"B "_la"A "_so"G2|] X:0 T:The Gallowa Hills M:4/4 L:1/8 Q:1/4=100 K:BMix FD |B,3 C D2 EE|F2 B>B F3 \ E |D2 B,B, B,B,CD|E3 C A,2 F>F|B,3 C D3 E|F2 B2 D2 \ CB,|E>D EG F3 E|C3 B, B,2|| DE |F>F B2 D3 E|FG F2 FD |B,3 C D3 E|F2 B2 D2 \ CB,|E>D EG F3 E|C3 B, B,2|] Mixolydian tunes often make the seventh at the lower end of the tune's range prominent by using it as a cadence at the end of a phrase. This pipe reel version of the same tune does that more consistently: X:0 T:Campbell's Farewell to Redcastle M:2/4 L:1/16 Q:1/4=112 K:AMix e2 |A3B c3d |e2a2 e3d|c2A2 A2Bc|d2B2 G2 B2 |A3B c3d |e2a2 e3d|c2BA G2B2|A4 A2:| g>f|e2a2 a2gf|e2a2 e3d|c2A2 A2Bc|d2B2 G2 [1 gf |e2a2 a2gf|e2a2 e3d|c2BA G2B2|A4 A2:| [2 B2 |ABcd cdef|efga e3d|c2BA G2B2|A4 A2|] X:0 T:Miss Montgomery G:strathspey M:4/4 L:1/8 Q:1/4=120 K:AMix f|ec ee|dB dd|ec ee|d>Bg>B Aac>a e>fg>e|d>gB>g d>gf>d|e>ac>a e>fg>e|d>Bg>B Acd ded|g2d B2G|c>de efe|a2e c2A | B>cd ded|g2d B2G|c>de efe|a2e c2A:| a2e c2A|g2d B2G|a2e f2e|a2e c2A | gag gfe|d2d B2G|cde ece|a2e c2A:| X:0 T:The High Road to Linton G:reel S:Kerr's Merry Melodies v1 N:the old two-part version M:C| L:1/8 Q:1/2=112 K:AMix d|ceef a2ae|f2fe a2ae|ceef a2ae|faec B2A:| d|ceeg fddf|ecce fBBd|ceeg fddf|ecac B2A:| X:0 T:Tullochgorum G:strathspey M:4/4 L:1/8 Q:1/4=108 K:DMix G|F>DA>D G>CE>G|F>DA>D F>GA>d|F>DA>D G>CE>G|F>DA>G F2E|| F|D>dA>B c>CE2 |D>dA>d F>dA>d|D>dA>B c>CE>F|D>dA>B F2E|| F|D>dA>B c>CE>F|D>dA>B c>de>c|e/d/c/B/ c>A G>CE>F|D>dA>G F2E|] X:0 T:Elizabeth's Big Coat G:children's song or reel S:Kenny Fraser M:C| L:1/8 Q:1/2=120 K:AMix f|edc2 dcBd|cA A/A/A g2fa|edc2 dcBd|egdB A2A:| B|c2ce dBBd|cAAf g2fa|c2ce dBBd|egdB A2A:| X:0 T:Rattling Roaring Willie G:jig M:9/8 L:1/8 Q:3/8=120 K:GMix d|B2G GAG Bde|f2c AFA c2d|\ B2G GAG Bde|gfg B2c d2e| gfg dBG Bde|f2c AFA c2e|\ dBd e2d Bdg|BGB AFA G2|] Transpositions of mixolydian-mode scales: X:0 T:Mixolydian (so) Scales L:1/4 M:10/4 K:EbMix "^E flat" E2 FG AB cd e2|e2 dc BA GF E2|| M:10/4 K:BbMix "^B flat" B2 cd ef ga b2|b2 ag fe dc B2|| M:10/4 K:FMix "^F" F2 GA Bc de f2|f2 ed cB AG F2|| M:10/4 K:CMix "^C" C2 DE FG AB c2|c2 BA GF ED C2|| M:10/4 K:GMix "^G" G2 AB cd ef g2|g2 fe dc BA G2|| M:10/4 K:DMix "^D" D2 EF GA Bc d2|d2 cB AG FE D2|| M:10/4 K:AMix2 "^A" A2 Bc de fg a2|a2 gf ed cB A2|| M:10/4 K:EMix "^E" E2 FG AB cd e2|e2 dc BA GF E2|| M:10/4 K:BMix "^B" B2 cd ef ga b2|b2 ag fe dc B2|] On the chanter, it's the A-final mode, allowing tonal centres at both ends of the range: X:0 T:The Mixolydian Scale (A-final) on the Pipe Chanter M:21/4 L:1/4 K:Hp A2 Bcdefg a2 gfedcB A2 G A2|] 1.5. The Minor Mode ==== ============== The MINOR mode (sometimes called the AEOLIAN mode) is less used in Scottish music than any of the modes above; it occurs rather more often in the Highlands, but in the Lowlands it usually takes a different form described later. Its home note is semitone 8, or A in the white-note scale; interval sequence TSTT STT. In A, it's ABcdefga. In sol-fa it's the la-mode. X:0 T:The Minor (la) Scale M:10/4 L:1/4 K:AMin "_la"A2 "_ti"B "_do"c "_re"d "_mi"e "_fa"f "_so"g "_la"a2 |\ "_la"a2 "_so"g "_fa"f "_mi"e "_re"d "_do"c "_ti"B "_la"A2|] X:0 T:O Wha is She that Lo'es Me T:Morag G:Gaelic song, later used by Burns S:G.F. Graham, Popular Songs and Melodies of Scotland M:C L:1/8 Q:1/8=100 K:CMin G |c>de>c d2 G>G|c>ed>c B>AG>G| c>de>f d2 e>c|B>GF>E e2 e>f|g>ed>B c>de|| e |c>BG>F E>EF>G|A>FG>E C2 e e/c/|c>BG>F E>DF>G|A>FG>E C2 C |] X:0 T:Chi mi na feidh air a bhealach T:I see the deer in the mountain pass G:song S:Angus Fraser Collection M:6/8 L:1/8 Q:3/8=80 K:DMin A |d2D A2G|F2E D2z/A/|d2D A2G|F2G A2 z/e/|f2e {e}d2c|A2G FGA |d2D A2G|F2E D2|| A |D2D F2G|A2A f2g |a2g f2e|d2c ABc| d2D A2G|F2E D2z/A/|d2D A2G|F2G A2 z/e/|f2e d2c|A2G FGA |d2D A2G|F2E D2|] X:0 T:Rowing from Islay to Uist G:rowing song M:6/8 L:1/8 Q:3/8=88 K:BMin F|B2B d2e|c2B c2e|B2B f2f| gfe f2c| d2d e2d|c2B c2e|gfe f2c|[1 d2B AB:|\ [2 B2c d2|| A|F2F F2E|F2F d2e|c2B A2F| E2D E2G| F2F F2E|F2F d2e|c2B A2c| B3- B2:| X:0 T:John Bain's Sister's Wedding N:originally an 18th century Gaelic song, often used as a jig M:6/8 L:1/8 K:AMin e|c2A AAA|agf e2d|c2A AAA|d2c B2d| c2A AAA|agf e2d|c2A BGB|A3 A2:| e|A2B c2c|d2c cBc|d2c Bcd|e2A A2e| f2g agf|e2d c2a|c2A BGB|A3 A2:| X:0 T:The Inverness Fiddler G:strathspey N:Named by GS's son George MacLennan; possibly derived N:from a tune played by A.A. Cameron on the fiddle C:Pipe Major George S. McLennan S:Gordon Highlanders Pipe Music Collection volume II B:NLS Mus.D.s.19 M:C L:1/8 Q:1/4=112 K:BMin B2 B>c d>e f>g|a>f e>d c>B A>c|B2 B>c d>e f>g|a>f e>c B2 f2:| B2 B>c d>e f>d|c>B A>B c>d e>c|B2 B>c d>e f>g|a>f e>c B2 f2:| X:0 T:Miss Gordon of Gight G:reel C:Isaac Cooper G:fiddle reel, early 1780s M:C| L:1/8 Q:1/2=104 N:often played much slower these days; there's nothing N:in the original published version to suggest that K:CMin G,CEG cgec|BdBG FDB,D|CEGE DFBG|FDB,D C/C/C C2:| egbg agfe|defg fdBf |egbg agfe|dBfd c/c/c c2 | egbg agfe|defg fdBf |gfed cdec|BGFD EC C2|] Transpositions of minor-mode scales: X:0 T:Minor (la) Scales L:1/4 M:10/4 K:FMin "^F" F2 GA Bc de f2|f2 ed cB AG F2|| M:10/4 K:CMin "^C" C2 DE FG AB c2|c2 BA GF ED C2|| M:10/4 K:GMin "^G" G2 AB cd ef g2|g2 fe dc BA G2|| M:10/4 K:DMin "^D" D2 EF GA Bc d2|d2 cB AG FE D2|| M:10/4 K:AMin "^A" A2 Bc de fg a2|a2 gf ed cB A2|| M:10/4 K:EMin "^E" E2 FG AB cd e2|e2 dc BA GF E2|| M:10/4 K:BMin "^B" B2 cd ef ga b2|b2 ag fe dc B2|| M:10/4 K:F#Min "^F sharp" F2 GA Bc de f2|f2 ed cB AG F2|| M:10/4 K:C#Min "^C sharp" C2 DE FG AB c2|c2 BA GF ED C2|] The minor mode is the B-final mode on the pipes. X:0 T:The Minor Scale (B-final) on the Pipe Chanter M:20/4 L:1/4 K:AMix B2 cdefgagfedc B2 AGA B2|] Pipe tunes that use all seven notes of the minor scale are unusual, and not many pipe tunes sound like this one, an adaptation of a Lowland lament from the 18th century, "Frenet Ha": X:0 T:Dark Lowers the Night C:P.-M. J. Mackay S:Scots Guards pipe tune book G:retreat march M:3/4 L:1/8 Q:1/4=76 K:BMin d>c B2 B>c|d>e f2 f2|ga f2 e>d|cB c4 | d>c B2 B>c|d>e f2 f2|ga f2 f>e|dc cg f2 f2 |g2 a2 a2|a>g f2 e>d|cB c4 | d>c B2 B>c|d>e f2 f2|ga f2 f>e|dc cec|A3 A3 |c>Bc B>AB| d3 e3|f>ga c>BA|B>cf e>dc|B3 B3 :| f3 f3|e>fa f>ec|A2A e2c |f2f e>dc| d3 e3|f>ga c>BA|B>cf e>dc|B3 B3 :| 1.6. The Phrygian Mode ==== ================= The PHRYGIAN mode is the white-note scale starting on E; interval sequence STTT STT. In A it's A_Bcdefga. It is very rare in Scottish music, mainly occurring in street cries and work songs. In sol-fa it's the mi-mode. X:0 T:The Phrygian (mi) Scale M:10/4 L:1/4 K:EPhr "_mi"E2 "_fa"F "_so"G "_la"A "_ti"B "_do"c "_re"d "_mi"e2 |\ "_mi"e2 "_re"d "_do"c "_ti"B "_la"A "_so"G "_fa"F "_mi"E2|] Here is one of the few examples that is not a primitive chant: X:0 T:The Dhu Hill S:Kerr's Merry Melodies G:jig, sometimes played slowly M:6/8 L:1/8 Q:3/8=104 K:F#Phr F2A cdc|BAG Bcd|c2c fed| cBc F3 :| cBc ABc|dcd B3 |cBc f2f| cAF F3 :| f2d dcB|ABG FGA|B2B cBc|[1 d3 A2A:|\ [2 dcB ABG|] Transpositions of Phrygian mode scales: X:0 T:Phrygian (mi) Scales L:1/4 M:10/4 K:CPhr "^C" C2 DE FG AB c2|c2 BA GF ED C2|| M:10/4 K:GPhr "^G" G2 AB cd ef g2|g2 fe dc BA G2|| M:10/4 K:DPhr "^D" D2 EF GA Bc d2|d2 cB AG FE D2|| M:10/4 K:APhr "^A" A2 Bc de fg a2|a2 gf ed cB A2|| M:10/4 K:EPhr "^E" E2 FG AB cd e2|e2 dc BA GF E2|| M:10/4 K:BPhr "^B" B2 cd ef ga b2|b2 ag fe dc B2|| M:10/4 K:F#Phr "^F sharp" F2 GA Bc de f2|f2 ed cB AG F2|| M:10/4 K:C#Phr "^C sharp" C2 DE FG AB c2|c2 BA GF ED C2|| M:10/4 K:G#Phr "^G sharp" G2 AB cd ef g2|g2 fe dc BA G2|] On the pipe chanter this would be the F mode, but no pipe music uses it. 1.7. The Lydian and Locrian Modes ==== ============================ Two other modes named by theorists are the LYDIAN and LOCRIAN modes (the white-note scales beginning on F and B respectively). The Locrian mode was never used in practice (or even mentioned in theory) in the Middle Ages, and has no relevance at all to Scottish music - it seems to have been a 19th century invention by somebody with an engineer's mentality who saw you could do it on the piano. The Lydian mode was used in some Gregorian chant (perhaps less than the written sources suggest, as some of it might have become major in performance) and occurs in some Scandinavian music. It has a sort of theoretical existence in Scottish music, as it helps describe other, much more common, modes. Its interval pattern is TTTS TTS; in A it's AB^c^de^f^ga. In sol-fa it's the fa-mode. X:0 T:The Lydian (fa) Scale M:10/4 L:1/4 K:FLyd "_fa"F2 "_so"G "_la"A "_ti"B "_do"c "_re"d "_mi"e "_fa"f2 |\ "_fa"f2 "_mi"e "_re"d "_do"c "_ti"B "_la"A "_so"G "_fa"F2|] The next tune is the *only* traditional Scottish Lydian tune I know of (though its ending is in E dorian). X:0 T:The Bob of Fettercairn G:reel S:Kerr's MM v1 p24 M:C L:1/8 Q:1/2=104 K:GLyd Bc||dBGB dBGB|dBdg f2df|ecAc ecAc|edef gage | dBGB dBGB|dBdg f2df|afge fdgB|AABd e2eg|| dgBg dgBg|dgBg f2df|eaca eaca|edef gage | dgBg dgBg|dgBg f2df|afge fdgB|AABd e2eg|] though it has a relative which seems to be partially derived from it as the result of a fiddler's memory lapse mixing two tunes up: X:0 T:The Braes of Glenorchy G:reel S:McGlashan, A Collection of Strathspey Reels N:(pencil note) The Mason's Apron M:C| L:1/8 Q:1/2=104 K:GMix (c|B>A)GA GAGE |D>EG>A B2(A>G)| c(AA>B) ABAG | AGAB c2Ad| BGGA G>AGE |DEGA B2 AG | ABcd e>deg| G/G/G B>A G3 || (c|B>G)dG B>Gd>G|BGdG B2 Gd |^cAeA ^fAeA |^cAeA Tc2Ad| BGdG eGdG |D>EG>A TB2 AG | ABcd edeg | G/G/G BG G2 |] Lydian mode would be the G-mode on the pipes, but it's impractical; the G's are not tuned so as to have any sort of reasonable harmonic relationship with other notes on the chanter, and are not even exactly an octave apart, so the G-mode is only used for a few desperate efforts at arranging non-pipe music which is actually in G major. Locrian mode would be the C-final mode, but the C on the chanter is the most strangely tuned of all, with no other note having any detectable harmonic relationship to it, so even if the Locrian mode had any musical reality, the pipes couldn't play it. X:0 T:Lydian (fa) Scales L:1/4 M:10/4 K:DbLyd "^D flat" D2 EF GA Bc d2|d2 cB AG FE D2|| M:10/4 K:AbLyd "^A flat" A2 Bc de fg a2|a2 gf ed cB A2|| M:10/4 K:EbLyd "^E flat" E2 FG AB cd e2|e2 dc BA GF E2|| M:10/4 K:BbLyd "^B flat" B2 cd ef ga b2|b2 ag fe dc B2|| M:10/4 K:FLyd "^F" F2 GA Bc de f2|f2 ed cB AG F2|| M:10/4 K:CLyd "^C" C2 DE FG AB c2|c2 BA GF ED C2|| M:10/4 K:GLyd "^G" G2 AB cd ef g2|g2 fe dc BA G2|| M:10/4 K:DLyd "^D" D2 EF GA Bc d2|d2 cB AG FE D2|| M:10/4 K:ALyd "^A" A2 Bc de fg a2|a2 gf ed cB A2|] 1.8. Summary of the Heptatonic Modes ==== =============================== It may help to hear all these modes together, sharing a common tonal centre. Listen for which note changes on each line. X:0 T:Heptatonic Modes on A L:1/4 M:10/4 K:ALyd "^Lydian" A2 Bc de fg a2|a2 gf ed cB A2|| M:10/4 K:A "^Major" A2 Bc de fg a2|a2 gf ed cB A2|| M:10/4 K:AMix "^Mixolydian" A2 Bc de fg a2|a2 gf ed cB A2|| M:10/4 K:ADor "^Dorian" A2 Bc de fg a2|a2 gf ed cB A2|| M:10/4 K:AMin "^Minor" A2 Bc de fg a2|a2 gf ed cB A2|| M:10/4 K:APhr "^Phrygian" A2 Bc de fg a2|a2 gf ed cB A2|] 2. Hexatonic Modes == =============== 2.1. The Hexatonic Pitch Set ==== ======================= Many Scottish tunes don't use all seven notes of the diatonic pitch set. The same procedure occurs in non-Western musical systems: in classical Indian music, modes derived by leaving notes out of a raga are called "secondary ragas". There are many theoretically possible scales like this, but only a few are used. The six-note modes of Scottish music can all be seen as different modes of the white-note pitch set with B (ti) left out, or alternatively as its transposition down a fourth, the set with F (fa) left out, which also fits the white notes. The interval sequence now has a wider gap, a minor third, written as m. (None of the hexatonic or pentatonic scales of Scottish music has a wider gap than a minor third; the same goes for the pentatonic scales of China, but African and Japanese music use scales with major third gaps, and ancient Greek music used both). The omitted-B version looks like this: -ti: 1 2 3 4 5 6 7 8 9 10 11 12 C D E F G A do re mi fa so la T T S T T m and the omitted-F version is the same pattern transposed: -fa: 1 2 3 4 5 6 7 8 9 10 11 12 C D E G A B do re mi so la ti T T m T T S There are two different ways to get this pitch set on the pipe chanter: either omit the C sharp (so that the single semitone gap is between F sharp and G) or omit the G's (so that the semitone falls between C sharp and D). Nobody seems to have named these before; I'll call the first the "C-gap hexatonic pitch set" and the second the "G-gap hexatonic pitch set". Pipe tunes using the C-gap set work well on a G whistle. X:0 T:The C-gap Hexatonic Pitch Set on the Pipe Chanter M:8/4 L:1/4 K:C GABde^fga|] X:0 T:The G-gap Hexatonic Pitch Set on the Pipe Chanter M:7/4 L:1/4 K:C AB^cde^fa|] The six-note scales have no popular names, so I've used the naming system of Campbell and Collinson in their "Hebridean Folksongs", which describes these by saying what seven-note modes they could be if the missing note were filled in Some of the tune examples I've given for gapped scales are long: this is necessary for one point I'm making, that certain notes are omitted in a regular pattern. If a note doesn't occur in a short phrase you might put it down to fluke, but if a 64-bar piece omits it you need to ask why. 2.2. The Major/Mixolydian Hexatonic Mode ==== =================================== The MAJOR/MIXOLYDIAN HEXATONIC mode uses a major or mixolydian scale with the seventh step omitted, giving an interval sequence TTS TTm. On the white notes of a keyboard, it would either have C as tonal centre and omit the B, or have G as tonal centre and omit the F. In A it's AB^cde^fa. This is one of the commonest modes in Scots music: it occurs more often than the seven-note mixolydian mode, and many Scottish "major" tunes make so little use of the seventh that a gap here is barely noticeable. In sol-fa, it's either the do-mode with ti omitted or the so-mode with fa omitted. X:0 T:The Major/Mixolydian (do/so) Hexatonic Scale M:9/4 L:1/4 K:C P:do -ti "_do"C2 "_re"D "_mi"E "_fa"F "_so"G "_la"A "_do"c2 |\ "_do"c2 "_la"A "_so"G "_fa"F "_mi"E "_re"D "_do"C2|| P:so -fa K:GMix "_so"G2 "_la"A "_ti"B "_do"c "_re"d "_mi"e "_so"g2 |\ "_so"g2 "_mi"e "_re"d "_do"c "_ti"B "_la"A "_so"G2|] X:0 T:Jess MacFarlan T:Ay Waukin O S:Scots Musical Museum #213 G:song M:3/2 L:1/8 Q:1/2=136 K:AMix % A major/mixolydian hexatonic d2d>c B2A2 F4 |d3 c B2e2 c2A>A| d2d>c B2A2 F3 A|B2Bc d2c2 B2A2|| F4 F2F2 E4 |F2F2 F2A2 B2d2 | F2F2 F2F2 E2FA|B2A2 d3 c B2A2|] X:0 T:The Smith's a Gallant Fireman N:derived from the old Border song "Mary Scott" G:fiddle strathspey M:4/4 L:1/8 Q:1/4=120 K:D % D major/mixolydian hexatonic D2 D>F AF|A>Bd>A F2E>D|E2 E>G BA|d>fe>d B2BF AF|A>Bd>A F2E>D|G>BGAFFG>A B2A2:| d>ef>e d
A|B>Ad>A F2E>D|e2 e>f e2 e>f|g>fe>d B2A2 | d>ef>e d2 d>A|B>Ad>A F2E>D|G>BGAFFG>A B2A2:| X:0 T:St Kilda Song G:dance song S:p37 printed by J. Sibbald M:C L:1/4 Q:1/2=100 N:articulation, gracenotes and a trill removed K:F F>D CD |FA G>F|FF c>d |cA cd | FF Ac |c>c AG |Ac f>g |fc df | FF d>c|fc/A/ G>A|DF A/G/A|dc/A/ GF|| X:0 T:Haste to the Wedding T:Carrick Fergus T:Trip to the Dargle T:The Small Pin Cushion G:jig S:Skye Collection, 1880s N:probably written by James Oswald around 1750 M:6/8 L:1/8 R:jig K:D % D major/mixolydian hexatonic B |AFA Aaf|ede fdB|AFA AdF|EFE E2A | AFA Aaf|ede fdB|AFA faf|ddd d2 :| f/g/|afa afa|bgb bgb|afa agf|efe e2f/g/| a3 f3 |ede fdB|AFA faf|ded d2 :| X:0 T:Major/Mixolydian (7-gap, do/so) Hexatonic Scales L:1/4 M:9/4 K:Ab "^A flat" A2 Bc def a2|a2 fe dcB A2|| M:9/4 K:Eb "^E flat" E2 FG ABc e2|e2 cB AGF E2|| M:9/4 K:Bb "^B flat" B2 cd efg b2|b2 gf edc B2|| M:9/4 K:F "^F" F2 GA Bcd f2|f2 dc BAG F2|| M:9/4 K:C "^C" C2 DE FGA c2|c2 AG FED C2|| M:9/4 K:GMix "^G" G2 AB cde g2|g2 ed cBA G2|| M:9/4 K:DMix "^D" D2 EF GAB d2|d2 BA GFE D2|| M:9/4 K:AMix "^A" A2 Bc def a2|a2 fe dcB A2|| M:9/4 K:EMix "^E" E2 FG ABc e2|e2 cB AGF E2|| M:9/4 K:BMix "^B" B2 cd efg b2|b2 gf edc B2|] On the pipes, this mode can be obtained two ways: either as the A-final mode of the G-gap hexatonic pitch set, or (less usually) as the D-final mode of the C-gap hexatonic pitch set. X:0 T:Far Over Struy S:Scots Guards pipe tune book G:retreat march M:3/4 L:1/8 Q:1/4=80 K:D % major/mixolydian hexatonic, D-final in the C-gap hexatonic pitch set d2 A2 A2 |d>e f2 A2|f>g a2 f2|ed f2 e2 | e>f g2 a>g|fe d2 B2|d>e f2 A2|BA d2 d2:| e>f g2 a>g|fd f2 e2|f>e d2 fa|g>f f2 e2 | e>f g2 a>g|fe d2 B2|d>e f2 A2|BA d2 d2:| X:0 T:Captain Horne G:pipe strathspey M:C L:1/8 Q:1/4=112 K:D % major/mixolydian hexatonic, D-final in the C-gap hexatonic pitch set e|f>AA2 BAA2 B
d| f>AA2 Bd B
d f2 fd e2 fd e>dg>e|a>fe>d B
d|e3f e2c2 |A4 A2a2 |f2e>c e>fe>d|c2B2 B2c>d| e3f e2c2 |A4 A2a2 |f2e>c e>fa>e|c2A2 A2 :| a2 |f2e>c e>fa>e|fc B2a2 |f2e>c e>fa>e|f2B2 B2a2 | f2e>c e>fa>e|fc B2a2 |f2e>c e>fa>e|c2A2 A2 :| c>B|A3B c2a2 |f2e>c B2c>B|A>Bc>d e>fe>c|f2B2 B2c>B| A3B c2a2 |f2e>c B2a2 |f2e>c e>fa>e|c2A2 A2 :| c>d|e3f e2c2 |e4 e2a2 |f3e f2a2 |f3e c2a2 | f2e>c c2Bc e2a2 |f2e>c e>fa>e|c2A2 A2 :| 2.3. The Dorian/Minor Hexatonic Mode ==== =============================== The DORIAN/MINOR HEXATONIC mode is a dorian or minor scale with the sixth omitted, interval sequence TST TmT. On the white notes, it could either have D as tonal centre and omit the B, or have A as tonal centre and omit the F. In A it's ABcdega. This is very common; the great majority of the older Scottish tunes usually described as "minor" are in fact in this mode, and it is much commoner than both the dorian and minor modes put together. In sol-fa, it's either the re-mode with ti omitted or the la-mode with fa omitted. X:0 T:The Dorian/Minor (re/la) Hexatonic Scale M:9/4 L:1/4 K:DDor P:re -ti "_re"D2 "_mi"E "_fa"F "_so"G "_la"A "_do"c "_re"d2 |\ "_re"d2 "_do"c "_la"A "_so"G "_fa"F "_mi"E "_re"D2|| P:la -fa K:AMin "_la"A2 "_ti"B "_do"c "_re"d "_mi"e "_so"g "_la"a2 |\ "_la"a2 "_so"g "_mi"e "_re"d "_do"c "_ti"B "_la"A2|] X:0 T:Ca the Yowes to the Knowes G:Lowland song or slow air M:2/4 L:1/8 K:BMin % dorian/minor hexatonic z|E>F B2 |A>F A2|F>E D>d|c>d e2 |f>B B>B|Ad F2 |E2 F>A|B2 B F|E>F B>B|A>F A2|F>E D>d|c>d e>e|f>B BB |A/B/d F>D|E>E F>A|B2 B z|E>F B2 |A>F A2|F>E D>d|c>d e2 |f>B B>B|Ad F2 |E2 F>A|B2 B|] X:0 T:Are Ye Sleepin Maggie G:Lowland song M:4/4 L:1/8 Q:1/4=72 K:AMin % dorian/minor hexatonic e2 Ac ee e/d/c|d2 GB dd d/c/B |\ A>B c>d e>d c>d |e>A c/B/A/G/ EA/c/ BA || E>A Ac B>A GA/B/|c>c B>G E>c BA |\ E>A A>c B>A GA/B/|c>A B>G Ec BA || e2 A/B/c/d/ ee e/d/c|d2 G/A/B/c/ dB c>d e>d c>d |e>A c/B/A/G/ EA/c/ BA |] X:0 T:Born in St Johnstone and burn'd in Dundee S:Blaikie MS (1692), NLS MS.1578/Mf.Sec.MSS.295 G:south-east Scottish ballad M:3/4 L:1/4 Q:1/4=120 K:DDor % D dorian/minor hexatonic DAG |F>GA|FED |C>DE|DAG|F>GA|A fe |d3|| Add/c/|A dc|FcA/G/|F>GA|AAG|F>GA|G/F/DC/E/|D3|] X:0 T:The Gloomy Night is Gathering Fast T:Hughie Graham T:Druimonn dubh (The Black Cow) S:G.F. Graham, The Popular Songs and Melodies of Scotland G:song: a Gaelic lament, later a nonsense song, later used by Burns M:3/4 L:1/8 Q:1/4=72 K:F#Min % dorian/minor hexatonic FG|A4 G>F|F2 C2 FG|A4 G>F|F4 EF|G4 F>E|E2 B,C EF|G4 F>E|E4 FG|A4 G>F|F2 C2 FG|A3B G>F|F4 G2|A3B ce |f4 e2|c3B G>F|F4|] X:0 T:Seal Fishers Song S:NLS MS.10381 (Ann Dundas, Lausanne 1818) M:6/8 L:1/8 Q:3/8=100 K:EMin % dorian/minor hexatonic Bdd dBA|dBA dBA|\ Bdd dBA|e2d e3:| g2f g2a|e2d e3 |\ g2f g2a|e2d e3 | a2e g2d|e2d BAG|\ Bdd dBA|dBA dBA|\ Bdd dBA|e2d e3|] X:0 T:The Banks of Spey G:strathspey C:William Marshall M:4/4 L:1/8 Q:1/4=120 K:ADor % dorian/minor hexatonic A2 A>B A>Bc>e|dA G2G2|A2 A>B A>Bc>d|e>cde g2g2 | a>ge>c dB G2GB|AB c>de>g|eB A2Ac|| Ac Ac|B>cdB G2GB|Ac Ad|e>cde g2g2 | a>geB G2GB|AB c>deB A2A2|] X:0 T:The Ale is Dear G:reel for pipes or fiddle M:4/4 L:1/8 Q:1/2=112 K:BMin % dorian/minor hexatonic e|f2ef B2fe|faef cAAe|f2ef B2fe|faec B3:| c|B3 c d2cB|A3 B ABcA|B3 c d2cB|efec B3c| B3 c d2cB|A3 B ABcA|d2fd c2ec|efec B3|] It's still commonly used in modern tunes: X:0 T:Brenda Stubbert's Reel C:Jerry Holland, Cape Breton N:the way it's played around Edinburgh - I've never seen an N:intelligible written copy and only heard Brenda play it once G:Cape Breton reel for fiddle M:4/4 L:1/8 Q:1/2=112 K:AMin % dorian/minor hexatonic B|A2BA GAAB|A2Bd eddB|G2BA BGGB|c2BA BGG B|A2BA GAAB|A2Bd edda|gedB GABd|e2dB BAA:| B|A2a2 A2g2|Aage aged|G2BA BGGB|c2BA BGG [1 B|A2a2 A2g2|Aage agea|gedB GABd|e2dB BAA:| [2 B|A2BA GAAB|A2Bd edda|gedB GABd|e2dB BAA|] X:0 T:Dorian/Minor (6-gap, re/la) Hexatonic Scales L:1/4 M:9/4 K:BbDor "^B flat" B2 cd efa b2|b2 af edc B2|| M:9/4 K:FDor "^F" F2 GA Bce f2|f2 ec BAG F2|| M:9/4 K:CDor "^C" C2 DE FGB c2|c2 BG FED C2|| M:9/4 K:GDor "^G" G2 AB cdf g2|g2 fd cBA G2|| M:9/4 K:DDor "^D" D2 EF GAc d2|d2 cA GFE D2|| M:9/4 K:AMin "^A" A2 Bc deg a2|a2 ge dcB A2|| M:9/4 K:EMin "^E" E2 FG ABd e2|e2 dB AGF E2|| M:9/4 K:BMin "^B" B2 cd efa b2|b2 af edc B2|| M:9/4 K:F#Min "^F sharp" F2 GA Bce f2|f2 ec BAG F2|| M:9/4 K:C#Min "^C sharp" C2 DE FGB c2|c2 BG FED C2|] On the pipes, this mode usually takes the form of the B-final mode in the G-gap hexatonic pitch set. X:0 T:Greenwoodside G:pipe march M:2/4 L:1/16 Q:1/4=86 K:BMin % dorian/minor hexatonic, B-final G-gap hexatonic pitch set e2|B>BB>c B2A2|B>cd>e f4|e3f e>fe>d|c2A2 A2 f2|B2B>c B2A2|B>cd>e f4|e2a2 f2ef |d2B2 B2:| de|f3d B2f2|B>BB>c f4|e3f e>fe>d|c2A2 A2 [1 de|f3d B2f2|B>BB>d f4|e2a2 f2ef |d2B2 B2:| [2 e2|B2B>c B2A2|B>cd>e f4|e2a2 f2ef |d2B2 B2|] It can also be the E-final mode in the C-gap hexatonic pitch set, but this is uncommon. There are many tunes nearly in this mode, where the sixth is only used as a passing note in scale patterns, like the inconspicuous c's in this: X:0 T:Contented wi' Little T:Lumps of Pudding N:to my thinking the greatest song Burns ever wrote; based on N:a mildly bawdy Lowland song tune of the early 18th century G:song M:6/8 L:1/8 Q:3/8=90 K:EDor E |E>FE EAB E2 G |F>ED Ded B2e/d/|B>AF d2 d/c/|B>AF E>FA|B>AB E2|| B |BAB E2 F/G/|AFA AFA |A>FA D2 d/e/|f>ed BAF d2 d/c/|BAF EFA |B>AB E2|] The gap sometimes got filled as tunes evolved. "When She Cam Ben She Bobbit", as it appeared in Burns and Johnson's Scots Musical Museum, was dorian/minor hexatonic: X:0 T:When She Cam Ben She Bobbit G:song from Midlothian M:6/8 L:1/8 Q:3/8=84 K:EMin B,|E>EE G2G|FD2 z2D|E>EE e2e|dB2 z2 z |d>ed d2B|A2G FGA|B2 B BAB|GE2 z2|] In Allan's "110 Songs of Scotland" from the late nineteenth century and intended to fit Lady Nairne's adapted words, it had gone into the minor, though the sixth is still not an important note: X:0 T:The Laird of Cockpen G:song M:6/8 L:1/8 Q:3/8=84 K:EMin B,|E>FE G2G|F>DD D2F |E>FE e2e|d>BB B2 c |dGB dcB|A>BG F2G/A/|B>cB BAB|G>EE E2|] 2.4. The Mixolydian/Dorian Hexatonic Mode ==== ==================================== The MIXOLYDIAN/DORIAN HEXATONIC mode has the third omitted, giving an interval sequence TmT STT. On the white notes, it could either have tonal centre D omitting the F, or tonal centre G omitting the B. In A it's ABde^fga. So on the pipes, one form of it is in the A-mode in the C-gap hexatonic pitch set; this occurs often. The other is the E-mode in the G-gap pitch set, and if there are any real examples of it I can't find them. In sol-fa it's either the so-mode with ti omitted or the re-mode with fa omitted. X:0 T:The Mixolydian/Dorian (so/re) Hexatonic Scale M:9/4 L:1/4 K:GMix P:so -ti "_so"G2 "_la"A "_do"c "_re"d "_mi"e "_fa"f "_so"g2 |\ "_so"g2 "_fa"f "_mi"e "_re"d "_do"c "_la"A "_so"G2|| P:re -fa K:DDor "_re"D2 "_mi"E "_so"G "_la"A "_ti"B "_do"c "_re"d2 |\ "_re"d2 "_do"c "_ti"B "_la"A "_so"G "_mi"E "_re"D2|] X:0 T:The Black Mull T:The Muilean Dubh S:NLS MS.21743, tunebook of Archibald Clark, fifer in the 42nd, 1813 G:reel for fife or flute M:C| L:1/8 Q:1/2=104 K:ADor % mixolydian/dorian hexatonic B|edef g2(fe)|dedB dedB|edef gage|dBgB A2A:| B|eAed eAAB |dGdB dGGB|eAed eAAf|gedB A2A:| X:0 T:A Man's a Man for A' That G:song in march tempo taken from a pipe arrangement M:2/4 L:1/8 Q:1/4=72 K:AMix % mixolydian/dorian hexatonic; A-final C-gap A|d>e dA|Bd e>g|f>e dA|B2 B>A| d>e dA|Bd e>g|f>e dB|A2 A :| g|f>g af|gf e>g|f>g aA|B2 B>d| f>g af|gf e>g|f>e dB|A2 A :| X:0 T:Short Coated Mary G:fiddle reel from the Western Isles M:4/4 L:1/8 Q:1/2=116 K:EDor % mixolydian/dorian hexatonic E2B2 BABc|d2AF DEFD|E2B2 BABc|d2AF E2E2:| d2dB e2e2|d2d2 FFFD|d2dB e2e2|d2AF E2E2 | d2dB e2e2|d2d2 FFFD|E2B2 BABc|d2AF E2E2|] X:0 T:Hughie the Graeme S:Scottish Folksinger M:4/4 L:1/4 Q:1/2=80 K:DDor % mixolydian/dorian hexatonic c|cc dd|ec d2|cc dd|ec d>G| cB AG|cB Ac|Bd cA|GE D2|| GG/G/ GD|EG Ad|cA/A/ AA|GE D2|] X:0 T:Bogie's Bonnie Belle S:Belle Stewart B:MacColl & Seeger, Till Doomsday in the Afternoon M:4/4 L:1/8 Q:1/4=120 K:ADor % mixolydian/dorian hexatonic A2|A2A2 B2A2| G2F2 E2A,A,|D2D2 EF3 |A4 z2|| EF|G2F2 E2D2|(EA3) G2E2 |D2B,2 A,3A,|A,4 z2|] An alternative version of "Bonnie Lass Among the Heather" (given here earlier as an example of the Dorian mode) uses this gapped scale: X:0 T:Queen Among the Heather S:MacColl & Seeger, Till Doomsday in the Afternoon N:"H" means a fermata - not all ABC programs support it M:4/4 L:1/8 Q:1/4=90 K:D Dorian cB|A2 A2 D2 (AG)| E D3 HC2 cB|A2 A2 D2 D2 |(3c2c2A2 c2Hd2|z4 z2 cB|A2 A2 D2 (AG)| E2 D2 HC2 c2|Hd3 c A G2 c | C2 D2 E HD3 |z4 z2|] X:0 T:Murdo Mackenzie of Torridon G:pipe march M:6/8 L:1/8 S:Rebecca Knorr Q:3/8=120 K:AMix % mixolydian/dorian hexatonic; A-final C-gap e|Aee e3 |Aee dBg|GBd dBd|eAG| A3 e3 |A2e dBa|gfe deg|edB A2 :| B|AaA gAa|AgA aAa|gfe def|gGd BAG | [1 AaA gAa|AgA aAa|gfe deg|edB A2 :| [2 e3 A2e|dBd e2a|gfe deg|edB A2 |] X:0 T:Mixolydian/Dorian (3-gap, so/re) Hexatonic Scales L:1/4 M:9/4 K:EbMix "^E flat" E2 FA Bcd e2|e2 dc BAF E2|| M:9/4 K:BbMix "^B flat" B2 ce fga b2|b2 ag fec B2|| M:9/4 K:FMix "^F" F2 GB cde f2|f2 ed cBG F2|| M:9/4 K:CMix "^C" C2 DF GAB c2|c2 BA GFD C2|| M:9/4 K:GMix "^G" G2 Ac def g2|g2 fe dcA G2|| M:9/4 K:DMix "^D" D2 EG ABc d2|d2 cB AGE D2|| M:9/4 K:ADor "^A" A2 Bd efg a2|a2 gf edB A2|| M:9/4 K:EDor "^E" E2 FA Bcd e2|e2 dc BAF E2|| M:9/4 K:BDor "^B" B2 ce fga b2|b2 ag fec B2|| M:9/4 K:F#Dor "^F sharp" F2 GB cde f2|f2 ed cBG F2|] 2.5. The Lydian/Major Hexatonic Mode ==== =============================== The LYDIAN/MAJOR HEXATONIC mode omits the fourth, giving an interval sequence TTm TTS. On the white notes, it could either have tonal centre C with F omitted, or tonal centre F with B omitted. In A it's AB^cef^ga. In sol-fa it's either in the fa-mode with ti omitted or the do-mode with fa omitted. X:0 T:The Lydian/Major (fa/ti) Hexatonic Scale M:9/4 L:1/4 K:FLyd P:fa -ti "_fa"F2 "_so"G "_la"A "_do"c "_re"d "_mi"e "_fa"f2 |\ "_fa"f2 "_mi"e "_re"d "_do"c "_la"A "_so"G "_fa"F2|] P:do -fa K:C "_do"C2 "_re "D "_mi"E "_so"G "_la"A "_ti"B "_do"c2 |\ "_do"c2 "_ti "B "_la"A "_so"G "_mi"E "_re"D "_do"C2|] One of the best-known tunes in this mode is a strange-sounding piece which may nevertheless be more traditional than it appears: X:0 T:Annie Laurie G:song B:Gall & Inglis: Select Songs of Scotland C:Lady John Scott M:2/4 L:1/8 Q:1/4=60 K:C z |CC/C/ c>c |BA z \ A |GE ED/C/|D2 z E/D/|C>C c>c |BA z \ A |G>E ED |C2 z|| G |c>c d>d |e3 \ G |c>c d>d |e2 e>d |c>B Ac/A/|GE \ E>D |C/cE/ ED |C3 |] It occurs in these songs adapted by Burns, the first a traditional Lowland piece and the second a new song to a Gaelic tune: X:0 T:Whistle O'er the Lave O't G:song M:4/4 L:1/8 Q:1/4=96 K:F % lydian/major hexatonic F>C DGA2|c>dA>f G>FD2|F>CDGA>f|FF G2F2|| cd/e/f>c d>cA2|c>dA>f G>FD2|f>ad>f c>dA>f|FF G2F2|] X:0 T:How lang and dreary is the night G:song M:3/4 L:1/8 Q:1/4=80 K:E % lydian/major hexatonic E| E>e e2 e2 | e(d/c/) B3B| c>d e3f|g2 c2 e>c| {c}B>G G2 (FE)|{E}F>G B3c|{c}BG c3B|B2 E2 e>c| {c}B>G G2 (FE)|{E}F>G B3c|{c}BG c3B|B2 E2 |] and in the outer sections of this Shetland lament: X:0 T:Auld Swaara G:lament for fiddle N:the title refers to the sweater of a drowned fisherman B:Tom Anderson & Pam Swing: Haand Me Doon Da Fiddle M:2/4 L:1/8 Q:1/4=72 K:G % lydian/major hexatonic D| GG (3 D(B,G,)|(3 D(GD) (3(B,A,B, |G,2) {c}(3(BAF)|\ GG (3 D(B,G,)|(3 D(GD) (3(B,A,)B, |DG G :| % major A|(G/F/E/D/) (3(CEC) |(3(B,DB,) A,>B, |G,2 {c}(3(BAF)|\ (G/F/E/D/) (3(CEC) |(3(B,DB,) A,>B, |DG G :| % lydian/major hexatonic D|(G/F/E/D/) Gg | e(d/B/) d/(e/f/g/)|a2 ({A}(3 B)AF|\ (G/F/E/D/) Gg | e(d/B/) (3 d(gd) |BG G :| and there many near-examples where the fourth is barely perceptible: X:0 T:Last May a Braw Wooer G:song B:Gall & Inglis, Select Songs of Scotland M:6/8 L:1/8 K:F % almost lydian/major hexatonic F|A>GA F>GF|A>GA F2 c/B/ |A>GA FAc|d3 c2c| c>de fed |cGA GFG|AcC C>FA|G3 F2|] On the pipes it is theoretically possible as the D-mode using the G-gap hexatonic pitch set, but I can't think of an example. When the G is omitted in a D-mode tune on the pipes, the C is too, to make the tune pentatonic. The first half of this tune is in this mode, but the Gs in the second part fill in the gap: X:0 T:Invercauld G:reel S:Logan's Collection M:2/4 L:1/16 Q:1/4=108 K:D % lydian/major hexatonic e2|A2d2 f2e>d|f2a2 f2e>d|A2d2 f2e>d|B2e2 e2d>B| A2d2 f2e>d|f2a2 f2e>d|B2e2 c2Bd|e>dc>B A2fd|B2e2 e2f>g| [1 a2d2 f2e>d|e>dc>B A2c2 |B2e2 c2Bc d2c>B|A2d2 f2e>d|B2e2 c2BFEE {E}F2F2|A>FEd {d}cB/A/B2|[BE][BE] {d}cB/A/ {A}F2F2|| E>F Ec/e/ d/c/B/A/ e3/c//A//|Fe a>e f2|\ e2 d/c/B/A/ B/A/B/c/ e/d/c/B/ |c/e/f/e/ d/c/B/A/ F2 F2| A>FEE {E}F2F2|A>FEd {d}cB/A/B2|[BE][BE] {d}cB/A/ F2F2|] This tune (somewhat more accessible, but not widely sung today) only has the second as an unimportant leading note: X:0 T:O Poortith Cauld S:222 Popular Scottish Songs with Music (1868) N:words by Burns M:3/4 L:1/8 Q:1/4=100 K:CMin % essentially minor/phrygian hexatonic E2 |E>E E2 e>c |BG F3G |E>E E3F|GC3 zD |E>E E2 ec |B>G F3G |E>E E3F|GC3|| E2 |A>A A3 B |AG G3B |G>F F3G|Gc3 c>B|Bc e2 ef/g/|fe c3e/c/|B/G/F/E/ E3F|GC3|] This is more familiar: X:0 T:Bide Ye Yet S:Kerr's Merry Melodies book 1 N:originally known as "Hit Her on the Bum" M:6/8 L:1/8 Q:3/8=116 K:EMin % minor/phrygian hexatonic d|BAB G2A|Bcd cBA|BAB G2A|B2e e2d| BAB G2A|Bcd cBA|BAB G2A|B2e e2:| d|B2g g2d|B2d d2A|B2g gab|B2e e2d| B2g gab|Bcd cBA|BAG G2A|B2e e2:| On the pipes minor/phrygian hexatonic can be the B-mode with the C-gap hexatonic pitch set; the other way, as the F-mode on the G-gap set, never occurs. This must be by far the best-known tune in the mode: X:0 T:Highland Laddie S:a set of tunebooks for the Boys Brigade before WW1, NLS Acc.9950 N:not quite like any other version I've N:seen but they're all in the same mode M:2/4 L:1/16 Q:1/4=96 K:BMin % minor/phrygian hexatonic, B-mode C-gap BA|d2e2 f2a2|gfed f4 |f2e2 e2de|f2e2 e2dB| d2e2 f2a2|gfed f2ef|d2B2 B2AB|d2B2 BB :| g2|a2gf g2fe|f2ed f4 |f2e2 e2de|f2e2 e2g2| a2gf g2fe|f2ed f2ef|d2B2 B2AB|d2B2 BB :| X:0 T:Minor/Phrygian (2-gap, la/mi) Hexatonic Scales L:1/4 M:9/4 K:FMin "^F" F2 AB cde f2|f2 ed cBA F2|| M:9/4 K:CMin "^C" C2 EF GAB c2|c2 BA GFE C2|| M:9/4 K:GMin "^G" G2 Bc def g2|g2 fe dcB G2|| M:9/4 K:DMin "^D" D2 FG ABc d2|d2 cB AGF D2|| M:9/4 K:AMin "^A" A2 cd efg a2|a2 gf edc A2|| M:9/4 K:EPhr "^E" E2 GA Bcd e2|e2 dc BAG E2|| M:9/4 K:BPhr "^B" B2 de fga b2|b2 ag fed B2|| M:9/4 K:F#Phr "^F sharp" F2 AB cde f2|f2 ed cBA F2|| M:9/4 K:C#Phr "^C sharp" C2 EF GAB c2|c2 BA GFE C2|| M:9/4 K:G#Phr "^G sharp" G2 Bc def g2|g2 fe dcB G2|] 2.7. Summary of the Hexatonic Modes ==== ============================== X:0 T:The Hexatonic Scales based on A L:1/4 M:9/4 K:A "^Lydian/Major Hexatonic" A2 Bc efg a2|a2 gf ecB A2|| M:9/4 K:A "^Major/Mixolydian Hexatonic" A2 Bc def a2|a2 fe dcB A2|| M:9/4 K:ADor "^Mixolydian/Dorian Hexatonic" A2 Bd efg a2|a2 gf edB A2|| M:9/4 K:AMin "^Dorian/Minor Hexatonic" A2 Bc deg a2|a2 ge dcB A2|| M:9/4 K:AMin "^Minor/Phrygian Hexatonic" A2 cd efg a2|a2 gf edc A2|] 3. Pentatonic Modes == ================ 3.1. The Pentatonic Pitch Set ==== ======================== The PENTATONIC pitch set omits pitches 5 and 12 from the diatonic pitch set to leave five notes, 1 3 6 8 12 (or C D F G A in white notes, or only the black notes). Its intervals are three whole tones and two minor thirds, no semitones. There are three ways of getting transpositions of it from the white notes of a piano: -mi -ti: 1 2 3 4 5 6 7 8 9 10 11 12 C D F G A do re fa so la T m T T m -fa -ti: 1 2 3 4 5 6 7 8 9 10 11 12 C D E G A do re mi so la T T m T m -do -fa: 1 2 3 4 5 6 7 8 9 10 11 12 D E G A B re mi so la ti T m T T m It has different modes like the seven-note and six-note pitch sets. There are three pentatonic modes used in Scottish music, and a fourth which has a sort of theoretical existence. There are countless other ways of selecting five notes; none of them seem to have much place in Scottish tradition. In particular, the pentatonic pitch sets of African music typically don't fit any Scottish tunes. On the pipes, with their two-sharp scale, there are also three alternate ways to get this pitch set. One is the CF-gap set, GAB-de-ga. Another is the GC-gap set, AB-def-a. The third possibility is the DG-gap pitch set, ABc-ef-a. Each of these can be used with a variety of tonal centres to get different modes: and because of the limited range and non-uniform tuning of the pipe chanter, each has a different effect. 3.2. The Mixolydian/Dorian/Minor Pentatonic Mode ==== =========================================== The MIXOLYDIAN/DORIAN/MINOR PENTATONIC mode has pitch 8 (G in this white- note scale) as its home note. That is, it's what you get from the black-note scale by taking G sharp/A flat as the home note, or from the white-note minor, dorian or mixolydian scales by leaving out the third and sixth. Its interval sequence is TmT mT. In Bronson's scheme it's pi-3. In A, it's ABdega. This is a very common scale in Highland pipe music. There are three ways of looking at it in sol-fa. X:0 T:The Mixolydian/Dorian/Minor (so/re/la. pi-3) Pentatonic Scale L:1/4 M:8/4 K:GMix P:so -ti -mi "_so"G2 "_la"A "_do"c "_re"d "_fa"f "_so"g2 |\ "_so"g2 "_fa"f "_re"d "_do"c "_la"A "_so"G2|| M:8/4 P:re -fa -ti K:DDor "_re"D2 "_mi"E "_so"G "_la"A "_do"c "_re"d2 |\ "_re"d2 "_do"c "_la"A "_so"G "_mi"E "_re"D2|| M:8/4 P:la -do -fa K:AMin "_la"A2 "_ti"B "_re"d "_mi"e "_so"g "_la"a2 |\ "_la"a2 "_so"g "_mi"e "_re"d "_ti"B "_la"A2|] X:0 T:Glen Lyon T:Haughs of Cromdale S:Kerr's Merry Melodies M:4/4 L:1/8 Q:1/2=100 K:AMin % A mixolydian/dorian/minor pentatonic g|eA A/A/A edBd|BG G/G/G BABd|eA A/A/A edBd|edgB A3:| g|edeg abag|dgBg dgBg|edeg abag|edgB A3:| Since both the C and F are missing, you might equally well find that tune written with one or two sharps; they make no difference. You could look at this a different way by saying the tune could equally well be minor, dorian or mixolydian; a pentatonic mode is ambiguous three ways if you see it as a reduced form of a seven-note mode. A bothy ballad from the north-east of Scotland: X:0 T:Lamachree and Megrum S:Rymour Club Miscellanea v1 via McColl, Folk Songs and Ballads of Scotland M:4/4 L:1/4 R:bothy ballad Q:1/4=96 K:EMin % E mixolydian/dorian/minor pentatonic E|B,E E>F |E>F B2 ||\ A>B E(E/F/)|EB, DE |DE F2 ||\ A2 D2 |(FBG A3 |e>dg e>dB|A>BA G2B |d2e e>dB | A>BG A3 |e>dg e>dB|G>Bg e>dB|A3 A2 :| g |a2e e2g |a>ee e>dB|A>BA G2B |d2e e>dB | [1 a2e e2g |a>ee e>dB|G>Bg e>dB|A3 A2 :| [2 A>BG A3 |e>dg e>dB|G>Bg e>dB|A3 A2 || e |A>ee d>ee|A>ee e>dB|A>BA G>GG|BdB | A>ee d>ee|A>ee e>dB|G>Bg e>dB|A3 A2 :| e |A2a a>ga|g>ee e>dB|A>BA G2B |d2e e>dB | [1 A2a a>ga|g>ee e>dB|G>Bg e>dB|A3 A2 :| [2 A>BG A3 |e>dg e>dB|G>Bg e>dB|A3 A2 |] The transpositions of the mixolydian/dorian/minor pentatonic mode are: X:0 T:Mixolydian/Dorian/Minor (3,6-gap, so/re/la, pi-3) Pentatonic Scales L:1/4 M:8/4 K:EbMix "^E flat" E2 FA Bd e2|e2 dB AF E2|| M:8/4 K:BbMix "^B flat" B2 ce fa b2|b2 af ec B2|| M:8/4 K:FMix "^F" F2 GB ce f2|f2 ec BG F2|| M:8/4 K:CMix "^C" C2 DF GB c2|c2 BG FD C2|| M:8/4 K:GMix "^G" G2 Ac df g2|g2 fd cA G2|| M:8/4 K:DDor "^D" D2 EG Ac d2|d2 cA GE D2|| M:8/4 K:AMin "^A" A2 Bd eg a2|a2 ge dB A2|| M:8/4 K:EMin "^E" E2 FA Bd e2|e2 dB AF E2|| M:8/4 K:BMin "^B" B2 ce fa b2|b2 af ec B2|| M:8/4 K:F#Min "^F sharp" F2 GB ce f2|f2 ec BG F2|| M:8/4 K:C#Min "^C sharp" C2 DF GB c2|c2 BG FD C2|] One oddity of the piano keyboard layout may explain why the piano accordion works so well for Highland pipe tunes. The mixolydian/dorian/minor pentatonic scale fits on the white notes no matter whether you use G, D or A as the home note; this is one of the commonest scales in Highland music and these are by far the commonest home notes any Scottish music uses. Watch an accordionist's fingers: when playing Highland music like pipe marches, the black notes are rarely touched, despite frequent key changes. In principle, there are three ways to get this mode on the pipes: by far the commonest uses the A-mode with the CF-gap pitch set, but in principle it can be fitted to the E-mode on the GC-gap set or the B-mode on the DG-gap set. Tunes in this mode could often have the gap filled or created. It is not clear which of these (the same tune in two different rhythms) came first: X:0 T:Tha Mi Sgith T:Cutting Bracken G:strathspey M:4/4 L:1/8 Q:1/4=120 K:AMin % A mixolydian/dorian/minor pentatonic A2 a2 gdB>A G>ABdBdB>A G>ABdBdBABdBge deg|edB A2:| B|c2c cec|d2d ded|c2c edc|Bdg dBG| c2c edc|deg a2g|ege deg|edB A2:| 3.3. The Dorian/Minor/Phrygian Pentatonic Mode ==== ========================================= The DORIAN/MINOR/PHRYGIAN PENTATONIC mode is what you get by playing on the black notes of a piano taking E flat/D sharp as the home note. Tunes in this mode could be seen as being dorian, minor or phrygian; the second and sixth are omitted. Its interval sequence is mTTmT. In A, it's Acdega. It is sometimes called "pentatonic minor". On the pipes it can be played as the E-mode in the CF-gap pitch set or as the B-mode in the GC-gap pitch set. In sol-fa it can start on re, la or mi. In Bronson's scheme it's pi-4. X:0 T:The Dorian/Minor/Phrygian Pentatonic (re/la/mi, pi-4) Scale L:1/4 M:8/4 K:DDor P:re -mi -ti "_re"D2 "_fa"F "_so"G "_la"A "_do"c "_re"d2 |\ "_re"d2 "_do"c "_la"A "_so"G "_fa"F "_re"D2|| M:8/4 P:la -ti -fa K:AMin "_la"A2 "_do"c "_re"d "_mi"e "_so"g "_la"a2 |\ "_la"a2 "_so"g "_mi"e "_re"d "_do"c "_la"A2|| M:8/4 P:mi -fa -do K:EPhr "_mi"E2 "_so"G "_la"A "_ti"B "_re"d "_mi"e2 |\ "_mi"e2 "_re"d "_ti"B "_la"A "_so"G "_mi"E2|] The second of these examples fits the chanter, though I haven't seen a pipe setting of it. X:0 T:My Tocher's The Jewel T:The Highway to Edinburgh T:Thro' the Lang Muir T:Here Awa There Awa Willie T:The Collier's Rant T:Lord Elcho G:jig M:6/8 L:1/8 Q:3/8=108 K:F#Min % dorian/minor/phrygian pentatonic F/E/|CFF F2E|FAB cfe|cfe ecA|Bce f2f|e>cB AcB |AEE E2E| FAE FAE|FAB cfe|cA f2 f>e f>a|f>d (3fed d2 ef|FA B2 B>A Bd|e>d f>e dB Bd:| B>A AA f2 ef |a>f (3fed d2 FA|B>B BB A2 Bd|e>d f>d B2 B2:| X:0 T:Lamentation for McDonald of Keppoch S:Logan's Inverness Collection M:9/8 L:1/8 Q:3/8=60 K:AMin % dorian/minor/phrygian pentatonic A3 A>GA c2c | c2A A>GA G3|e3 e>de a2g| e2d c>AG A3 | g3 age g>ed|{cd}e2d c>AG G3|A3 A>GA c2d|{cd}e2d c>AG {G}A3|] X:0 T:Saw you my Love Migey Linken over the Lee S:James Thomson's MS for the treble recorder, 1702 B:David Johnson, 21 Scots Tunes for the Treble Recorder N:extensive ornamentation omitted, see Johnson's edition M:3/4 L:1/8 Q:1/4=72 K:AMin % dorian/minor/phrygian pentatonic a>c'ag ed/c/|g>age dc |a>c'ag ed/c/ |d/c/d/e/ g/e/d/c/ A2|| Ac cc/d/ ed/c/|Ad de/g/ a/g/a/c'/|Ac cc'/a/ g/e/d/c/|d/c/d/e/ g/e/d/c/ A2|] X:0 T:Dorian/Minor/Phrygian (2,7-gap, re/la/mi, pi-4) Pentatonic Scales L:1/4 M:8/4 K:BbDor "^B flat" B2 de fa b2|b2 af ed B2|| M:8/4 K:FDor "^F" F2 AB ce f2|f2 ec BA F2|| M:8/4 K:CDor "^C" C2 EF GB c2|c2 BG FE C2|| M:8/4 K:GDor "^G" G2 Bc df g2|g2 fd cB G2|| M:8/4 K:DDor "^D" D2 FG Ac d2|d2 cA GF D2|| M:8/4 K:AMin "^A" A2 cd eg a2|a2 ge dc A2|| M:8/4 K:EPhr "^E" E2 GA Bd e2|e2 dB AG E2|| M:8/4 K:BPhr "^B" B2 de fa b2|b2 af ed B2|| M:8/4 K:F#Phr "^F sharp" F2 AB ce f2|f2 ec BA F2|| M:8/4 K:C#Phr "^C sharp" C2 EF GB c2|c2 BG FE C2|| M:8/4 K:G#Phr "^G sharp" G2 Bc df g2|g2 fd cB G2|] 3.4. The Lydian/Major/Mixolydian Pentatonic Mode ==== =========================================== The LYDIAN/MAJOR/MIXOLYDIAN pentatonic scale (with gaps at the 4th and 7th) occurs frequently in pipe music. Its interval sequence is TTmTm; in A it's AB^ce^fa. That's its usual form on the pipe chanter: A-mode in the DG-gap pitch set. It can also be D-mode in the GC-gap set. In sol-fa it can begin on so, do or la. In Bronson's scheme it's pi-1. X:0 T:The Lydian/Major/Mixolydian (fa/do/so, pi-1) Pentatonic Scale L:1/4 M:8/4 K:FLyd P:fa -ti -mi "_fa"F2 "_so"G "_la"A "_do"c "_re"d "_fa"f2 |\ "_fa"f2 "_re"d "_do"c "_la"A "_so"G "_fa"F2|| M:8/4 K:C P:do -fa -ti "_do"C2 "_re"D "_mi"E "_so"G "_la"A "_do"c2 |\ "_do"c2 "_la"A "_so"G "_mi"E "_re"D "_do"C2|| M:8/4 K:GMix P:so -do -fa "_so"G2 "_la"A "_ti"B "_re"d "_mi"e "_so"g2 |\ "_so"g2 "_mi"e "_re"d "_ti"B "_la"A "_so"G2|] X:0 T:Corriechoille's Farewell G:march M:2/4 L:1/8 Q:1/4=96 K:D % lydian/major/mixolydian pentatonic, D-mode GC-gap e|A>B Ad|e>d BA|d>e fa|fe ef|A>B Ad|e>d BA|d>e fa|fd d:| f|a>f df|e>d BA|d>e fa|fe ef|A>B Ad|e>d BA|d>e fa|fd d:| X:0 T:Kenny Gillies of Portnalong, Skye G:jig S:Rory Campbell M:6/8 L:1/8 Q:3/8=120 K:Amix % lydian/major/mixolydian pentatonic, A-mode DG-gap e||AAA e2c|efa f2e|faa AAA|fec cBB | AAA e2c|efa f2e|eff fec|BAA A3 :| a3 AAA|cea fee|faa AAA|fec cBB | [1 a3 AAA|cea fee|eff fec|BAA A2e:| [2 AAA e2c|efa f2e|eff fec|BAA A3 || AAA cBc|AeA fee|faa AAA|fec cBB | AAA cBc|AeA fee|eff fec|BAA A2e:| c2e afa|Ace fee|faa AAA|fec cBB | [1 c2e afa|Ace fee|eff fec|BAA A3 :| [2 AAA cBc|AeA fee|eff fec|BAA A3 |] The first three parts of this tune use the same mode: X:0 T:Father John MacMillan of Barra G:march M:2/4 L:1/16 Q:1/4=80 K:AMix % lydian/major/mixolydian pentatonic, A-final DG-gap A>B|c2Be |c2BB | c2BB |A4 A2 :| ce |c2BB |A4 A2 :| [2 A>B|c2BB |A4 A2 || A>B|cc |f2efee |c2BB | cc |f2eB |A4 A2 :| % major/mixolydian hexatonic, A-final G-gap cf a>fec e3f|f2e>f a>fef a>feB |A4 A2cf a>fec e3f|f2e>f e>fa>e|c>de>c B2A>B | c2BB |A4 A2 |] Other A-final tunes have the D and G in such inconspicuous places that nobody but a piping contest judge would notice if you left them out and covered their absence by holding the previous note, putting them entirely into the same pentatonic mode. In this tune they only occur as the second note of a two-note upbeat: X:0 T:Old Toasty G:hornpipe S:Gordon Highlanders book 1 C:Angus Lawrie, Strathclyde Police M:2/4 L:1/16 Q:1/4=92 K:AMix a2 |A2A2 c>BA>c|e2cf|a2a2 f2e>f|a>fe>c B2 a2 |A2A2 c>BA>c|e2cf|a2a2 f2e>c|B2A2 A2:| f>g|a2a2 f2e>c |e>fa>e f2e>f|a2a2 f2e>f|a>fe>c B2 [1 f>g|a2a2 f2e>c |e>fa>e f2e>f|a2a2 f2e>c|B2A2 A2:| [2 f>g|A2A2 c>BA>c|e2cf|a2a2 f2e>c|B2A2 A2|| a2 |c>cc>B A>AA>c|e2cf|a2a2 f2e>f|a>fe>c B2 a2 |c>cc>B A>AA>c|e2cf|a2a2 f2e>c|B2A2 A2:| c>d|e>fe>c a2e2 |f>ga>f e2f>g|a2a2 f2e>f|a>fe>c B2 [1 c>d|e>fe>c a2e2 |f>ga>f e2f>g|a2a2 f2e>c|B2A2 A2:| [2 c>d|A2A2 c>BA>c|e2cf|a2a2 f2e>c|B2A2 A2|] Some people call this "pentatonic major". It is a strong enough feature of Scottish music that tunes originally in seven-note modes have been adapted to it in folk transmission. "Miss Cruickshank's Reel", by William Marshall (first published as "Miss Hopkins Reel" in 1781), was in the major mode (originally in B flat - I've transposed it for easier comparison) the way he wrote it: X:0 T:Miss Cruickshank's Reel T:Miss Hopkins Reel (1781) G:reel S:William Marshall, 1822 M:C| L:1/8 Q:1/2=108 K:A EFAc d2df|ecBA BAFA|EFAc d2df|ecBc A/A/A A2:| fgag fedc|BABc AFFe|fgag fedc|BABc A/A/A A2 | fgag fedc|BABc AFFA|EFAB cdef|ecBc A/A/A A2|] But as collected in Cape Breton in the twentieth century, it was changed into the lydian/major/mixolydian pentatonic mode and transposed to A: X:0 T:Put Me in the Big Chest T:Cuir a Chiste Mhoir Mi G:reel S:Dunlay & Reich, Traditional Celtic Fiddle Music of Cape Breton M:C| L:1/8 Q:1/2=108 K:AMix % A lydian/major/mixolydian pentatonic, DG-gap F|EFAB c2cf|ecBA F/F/F AF|EFAB c/c/c cf|ecBc A/A/A AF| EFAB c2cf|ecBA F/F/F AF|EFAB cB cf|ecBc A/A/A A|| c|efec eAAc|efec BABc |efec efaf |ecBc A/A/A A:| X:0 T:Lydian/Major/Mixolydian (4,7-gap, fa/do/so, pi-1) Pentatonic Scales L:1/4 M:8/4 K:DbLyd "^D flat" D2 EF AB d2|d2 BA FE D2|| M:8/4 K:AbLyd "^A flat" A2 Bc ef a2|a2 fe cB A2|| M:8/4 K:EbLyd "^E flat" E2 FG Bc e2|e2 cB GF E2|| M:8/4 K:BbLyd "^B flat" B2 cd fg b2|b2 gf dc B2|| M:8/4 K:FLyd "^F" F2 GA cd f2|f2 dc AG F2|| M:8/4 K:C "^C" C2 DE GA c2|c2 AG ED C2|| M:8/4 K:GMix "^G" G2 AB de g2|g2 ed BA G2|| M:8/4 K:DMix "^D" D2 EF AB d2|d2 BA FE D2|| M:8/4 K:AMix "^A" A2 Bc ef a2|a2 fe cB A2|| M:8/4 K:EMix "^E" E2 FG Bc e2|e2 cB GF E2|| M:8/4 K:BMix "^B" B2 cd fg b2|b2 gf dc B2|] 3.5. The Major/Mixolydian/Dorian Pentatonic Mode ==== =========================================== The MAJOR/MIXOLYDIAN/DORIAN PENTATONIC mode is what you get by playing on the black notes of the piano, taking C sharp as the home note. It could be taken as being major, mixolydian or dorian; the third and seventh are missing. Its interval sequence is TmTTm; in A it's ABde^fa. It could be done on the pipes as the A-mode with the GC-gap pitch set, or the D-mode with the CF-gap set. It's the rarest of all modes in Scottish music; some pipe tunes come close for long stretches, but where there are notes that bridge the gaps, they matter. In sol-fa, it can start on do, so or re. In Bronson's scheme it's pi-2. X:0 T:The Major/Mixolydian/Dorian (do/so/re, pi-2) Pentatonic Scale L:1/4 M:8/4 K:C P:do -mi -ti "_do"C2 "_re"D "_fa"F "_so"G "_la"A "_do"c2 |\ "_do"c2 "_la"A "_so"G "_fa"F "_re"D "_do"C2|| M:8/4 K:GMix P:so -ti -fa "_so"G2 "_la"A "_do"c "_re"d "_mi"e "_so"g2 |\ "_so"g2 "_mi"e "_re"d "_do"c "_la"A "_so"G2|| M:8/4 K:DDor P:re -fa -do "_re"D2 "_mi"E "_so"G "_la"A "_ti"B "_re"d2 |\ "_re"d2 "_ti"B "_la"A "_so"G "_mi"E "_re"D2|] In the Carnatic music theory of south India this is the secondary raga "Arabhi" (associated with the morning and a mood of mystery). The only Scottish example I could find was this ballad tune from the North-East: X:0 T:The Baron o' Brackley S:Christie via "101 Scottish Songs" M:3/4 L:1/8 Q:1/4=120 K:DMix D2 |G2 A2 B>A|G>A B2 B>A|G2 D2 G>D|E4 D>E|G2 A2 B>A|G>A B2 B>A|G2 E2 E>D|D4 BA B2 BG|BA3 B>d|e2 A2 BA |G>E G2 B>A|G2 E2 EB|AA G2 E2|D4 D2|E2 A3 B|A2 G2 AG |E2 D2 G2|D4|] though it could be argued that both are really in G lydian/major/ mixolydian pentatonic but end on the fifth. This might be a better example, in that the seventh is not essential to the tune, only occurring as a passing note on descending phrases: X:0 T:Milking Croon S:Kennedy-Fraser, Songs of the Hebrides G:milking song from South Uist M:7/4 L:1/8 Q:1/2=80 K:F Mixolydian DF|B2 cd F2 F2 F2 F2 de|f2 ed cB c2 dc B2 fe|d2 fB BF F2 F2 F2 DF|B2 cc (3dcB GF F2 F2|| DF|B2 cd F2 F2 F2 F2 de|f2 ed cB c2 dc B2 fe|d2 fF F2 F2 F2 F2 DF|B2 cc (3dcB GF F2 F2|| DF|B2 cd F2 F2 F2 F2 de|f2 ed cB c2 dc B2 fe|d2 fB BF F2 F2 F2 DF|B2 cc d/c/B GF F2 F2|] X:0 T:Major/Mixolydian/Dorian (3,7-gap, do/so/re, pi-2) Pentatonic Scales L:1/4 M:8/4 K:Ab "^A flat" A2 Bd ef a2|a2 fe dB A2|| M:8/4 K:Eb "^E flat" E2 FA Bc e2|e2 cB AF E2|| M:8/4 K:Bb "^B flat" B2 ce fg b2|b2 gf ec B2|| M:8/4 K:F "^F" F2 GB cd f2|f2 dc BG F2|| M:8/4 K:C "^C" C2 DF GA c2|c2 AG FD C2|| M:8/4 K:GMix "^G" G2 Ac de g2|g2 ed cA G2|| M:8/4 K:DDor "^D" D2 EG AB d2|d2 BA GE D2|| M:8/4 K:ADor "^A" A2 Bd ef a2|a2 fe dB A2|| M:8/4 K:EDor "^E" E2 FA Bc e2|e2 cB AF E2|| M:8/4 K:BDor "^B" B2 ce fg b2|b2 gf ec B2|| M:8/4 K:F#Dor "^F sharp" F2 GB cd f2|f2 dc BG F2|] 3.7. Summary of the Pentatonic Modes ==== =============================== X:0 T:The Pentatonic Modes based on A L:1/4 M:8/4 K:A "^Lydian/Major/Mixolydian Pentatonic" A2 Bc ef a2|a2 fe cB A2|| M:9/4 K:AMix "^Major/Mixolydian/Dorian Pentatonic" A2 Bd ef a2|a2 fe dB A2|| M:9/4 K:ADor "^Mixolydian/Dorian/Minor Pentatonic" A2 Bd eg a2|a2 ge dB A2|| M:9/4 K:AMin "^Dorian/Minor/Phrygian Pentatonic" A2 cd eg a2|a2 ge dc A2|] 4. The Big Picture == =============== The relationships between the modes and gapped scales can be summarized in a single diagram: six 7-note modes, five 6-note modes, four 5-note modes. The numbers from +1 to -4 indicate the change in the key signature, relative to the major scale, if the home note is kept the same: sharps are positive, flats negative. So lydian mode has one more sharp (or one less flat) than the major key with the same tonal centre; dorian has two less sharps (or two more flats) and so on. The gapped scales have alternative key signatures (two alternatives for hexatonic modes, three for pentatonic). Each mode in the diagram can be contructed either by taking all the notes that occur in both modes immediately below it, or by taking those notes that are in common to both modes immediately above it. I've also included the pipe (two-sharp) versions of each mode, the tonal centre and the omitted notes. I have also indicated the relative frequency of these in the older repertoire, as I see it after an informal scan of a lot of books, though without using a pocket calculator: ++ very common + common - rare -- very rare --- nonexistent lydian ------ major -- mixolydian -- dorian ----- minor ---- phrygian TTTS TTS TTST TTS TTST TST TSTT TST TSTT STT STTT STT +1 0 -1 -2 -3 -4 G D A E B F# -- ++ ++ + - -- \ /\ /\ /\ /\ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \/ \/ \/ \/ \/ lyd/maj maj/mix mix/dor dor/min min/phr TTm TTS TTST Tm TmT TST TSTT mT TmT STT (4-gap) (7-gap) (3-gap) (6-gap) (2-gap) +1,0 0,-1 -1,-2 -2,-3 -3,-4 D-G A-G, D-C A-C, E-G E-C, B-G B-C - ++ + ++ -- \ /\ /\ /\ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \ / \/ \/ \/ \/ lyd/maj/mix maj/mix/dor mix/dor/min dor/min/phr TTm Tm TmT Tm TmT mT mTT mT pi-1 pi-2 pi-3 pi-4 (4,7-gap) (3,7-gap) (3,6-gap) (2,6-gap) +1,0,-1 0,-1,-2 -1,-2,-3 -2,-3,-4 D-GC, A-DG A-GC, E-CF A-CF, E-GC E-CF, B-GC ++ --- ++ - I have no explanation for this frequency pattern. Breandan Breathnach in "The Music and Dances of Ireland" gives a frequency breakdown of the 7-note modes of Irish music, concluding that it was the same across the British Isles; I don't think this would still hold if gapped modes were taken into account - English and Irish music are more similar to each other than either is to Scottish music in this respect, just as they are more closely related to each other rhythmically. A similar scheme, with more modes (most of which don't correspond to anything in Scottish music, and some to nothing in any music) was used by Bertrand Harris Bronson in his "The Traditional Tunes of the Child Ballads". I would be interested to know of real examples that don't fit my scheme. A table of the numbers of sharps (+) and flats (-) in these modes: lyd maj mix dor min phr D flat -4 . . . . . A flat -3 -4 . . . . E flat -2 -3 -4 . . . B flat -1 -2 -3 -4 . . F 0 -1 -2 -3 -4 . C +1 0 -1 -2 -3 -4 G +2 +1 0 -1 -2 -3 D +3 +2 +1 0 -1 -2 A +4 +3 +2 +1 0 -1 E . +4 +3 +2 +1 0 B . . +4 +3 +2 +1 F sharp . . . +4 +3 +2 C sharp . . . . +4 +3 G sharp . . . . . +4 and the hexatonic and pentatonic modes have alternatives derived from that list; so E mixolydian/dorian/minor pentatonic has 1, 2 or 3 sharps, which makes it playable on either a G, D or A whistle or possibly all three, depending on the tune's range. 5. Misleading Final Notes == ====================== In most European art music, the final note of a tune is its tonal centre. In many Scottish tunes, it isn't; this is very often the case with dance tunes intended to be repeated indefinitely in a circular pattern, but it often occurs with songs as well. Probably the commonest type are those ending on the third: X:0 T:The Campbells are Comin' G:song or jig S:222 Popular Scottish Songs with Music (1868) N:this tune has probably the most complicated history and the most N:alternate titles of anything in Scottish musical tradition M:6/8 L:1/8 Q:3/8=120 K:D D|FAB AFD |F2F F2E|FAB AFD |E2E E2D| FAB AFD |F>GF def|dBd AFD |F2F F2|| A|d2d d>ef|A2A AFD|d2d d>ef|B2B B2A| A>Bc d>cB|A>Bc def|dBd AFD |F2F F2|] The fifth is also common. This tune is in mixolydian/major hexatonic ending on the fifth above the tonal centre: X:0 T:The Deil's Awa wi th' Exciseman G:song or jig M:6/8 L:1/8 Q:3/8=120 K:G G|G2d d>ed|c2B A2c|d2G G2A|B3 d2:| d|B2B G2B |A2A D2B|d2G G2A|B3 d2:| This tune is in mixolydian/major hexatonic but ends on the fourth below the tonal centre: X:0 T:Mairi's Wedding G:dance song M:4/4 L:1/8 Q:1/4=120 K:G D>DDE GAB2|AGEG BAB2 | D>DDE GAB2|AGEC D2D2|| d>dde dcB2|AGEG BAB2 | d>dde dcB2|AGEC D2D2|] This Shetland fiddle march is really in D major, but ends on A: X:0 T:Da Mill G:march, sort of S:Tom Anderson, Haand me Doon Da Fiddle M:4/4 L:1/8 Q:1/4=112 K:AMix ABcd e2f2|d2d>d d2fe|dcBA ABcA |B2E>E E2ec| dcBA ABcA|d2d>d d2fe|dcBA (3Bcd cB|A2AD D3F|A3 B AD|F2 E2 E2 F>A|B>Ad>c B2 AA | A2 Bc d3e|f>edB d3 F|F2 E>F E2 F>A|d3 c B2 A2|] This major/mixolydian hexatonic song also ends on the fifth below: X:0 T:Macpherson's Rant M:C L:1/8 Q:1/4=100 K:F CD|F3C F2 A2|GF GA G2 CD|F3A BA GF|D6 CD|F3C F2 GF|A2 G2 G2 CD|F3A GF D2|C6|| AB|c3A BA GF|A2 G2 G2 AB|c3c BA GF|D6 d2|c3A BA GF|A2 G2 G2 CD|F3A GF D2|C6|] This tune might be seen as being in A phrygian, but more people hear it as being in the minor mode with tonal centre D: X:0 T:Bat' an Aisig T:The Ferry Boat G:rowing song S:Angus Fraser Collection M:3/4 L:1/4 Q:1/4=150 K:APhr % really D minor A2 G|AA d2BA e2 cA dA g2Be a>ba>f|g>ag>e dA dA g2Be a>ba>f|ge dBB>c|d2 c2 B2f2 |A2e>A ce f>BB>c|d2 a2 f2eA cB| d2a2 f2ee f>BB>c|d>ef>g a2a>f|e2e>d cecef>d c2 e>c|B>cd>B GAe>c A>Bc>d|e>fe>c AAe>c A>Bc>A|B>cd>B GAe>c A>Bc>d|ec Aef>d c2 e>c|B>cd>B GAc2|d>ef>d c2 e>c|B>cd>B GAcAc2|eABAcf e>Ac2|d>ef>d c2 e>c|B>cd>B GED|(B2c) A2|] The most disconcerting of all would appear from the final note to be in the Locrian mode, but is obviously in G major: X:0 T:Souters of Selkirk G:jig M:9/8 L:1/8 Q:3/8=132 K:G A|Bde dBg dBG|Bde dBg f2 A|Bde dBg dBG|cde dBg f2:| A|GBd g>fe dcB|GBd g>fe f2 A|GBd g>fe dcB|cde dBg f2:| This Shetland tune appears to be centred on G, but begins with the tonal centre on E and ends on the dominant: X:0 T:Da Shaalds o Foula G:jig M:6/8 L:1/8 Q:3/8=120 K:GMix % lydian/major/mixolydian pentatonic D|E2G G2e|edB BAG|G2B A2B|G2A GED| E2G G2e|edB BAG|G2B A2B|d3 D2:| D|edB ABd|edB ABd|g2B A2B|G2A GED| edB ABd|edB ABd|g2B A2B|d3 D2:| Pibroch can have a greater degree of ambiguity. While the pipes always provide an A on the drones, this is not always the tonal centre of the melody played over them, and this piece seems to have no tonal centre at all, floating from one to the next in a repetitive pattern like that of English bellringing. The "words" at the right are in canntaireachd, the syllabic notation used to record and transmit pipe music until about 1800; they describe the pitches and the gracenotes, but not the exact rhythm of the piece. X:0 T:Cha Till Mac Cruimein T:Mac Crimmon Will Never Return G:piobaireachd C:attr. Donald Ban Mac Crimmon, 1745; certainly not by him B:Logan's Bagpipe Tutor M:6/8 L:1/16 Q:6/16=40 R:pibroch K:AMix % C-gap hexatonic pitch set P:Ground e{AfA}e3f2 {g}B4f2| {g}e4f2 {g}eA3{d}B2 | % edreve hiove, cheve cheento, e{AfA}e3f2 {g}B4f2| {g}e4f2 {g}eG3{d}B2 | % edreve hiove, cheve cheemto, e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2|| % edreve hiode, trae haento; e{AfA}e3f2 {g}B4f2| {g}e4f2 {g}eG3{d}B2 | % edreve hiove, cheve cheemto, e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dG3{d}B2 | % edreve hiode, trae haemto, e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2|| % edreve hiode, trae haento; e{AfA}e3f2 {g}B4f2| {g}e4f2 {g}eG3{d}B2 | % edreve hiove, cheve cheemto, e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2|] % edreve hiode, trae haento. P:Variation 1 e{AfA}e3a2 B4f2| {g}e4a2 eA3{d}B2 | % edreI hiove, cheI deento, e{AfA}e3a2 B4f2| {g}e4a2 eG3{d}B2 | % edreI hiove, cheI deemto, e{AfA}e3a2 B4e2|{Adc}d4a2 dA3{d}B2|| % edreI hiode, traI aento; e{AfA}e3a2 B4f2| {g}e4a2 eG3{d}B2 | % edreI hiove, cheI deemto; e{AfA}e3a2 B4e2|{Adc}d4a2 dG3{d}B2 | % edreI hiode, traI aemto, e{AfA}e3a2 B4e2|{Adc}d4a2 dA3{d}B2|| % edreI hiode, traI aento; e{AfA}e3a2 B4f2| {g}e4a2 eG3{d}B2 | % edreI hiove, cheI deemto, e{AfA}e3a2 B4e2|{Adc}d4a2 dA3{d}B2|] % edreI hiode, traI aento. P:Variation 2 {g}e4f2 {g}B4f2| {g}e4f2 {g}eA3{d}B2 | % cheve hiove, cheve cheento, {g}e4f2 {g}B4f2| {g}e4f2 {g}eG3{d}B2 | % cheve hiove, cheve cheemto, {g}e4f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2|| % cheve hiode, trae haento; {g}e4f2 {g}B4f2| {g}e4f2 {g}eG3{d}B2 | % cheve hiove, cheve cheemto, {g}e4f2 {g}B4e2|{Adc}d4e2 {g}dG3{d}B2 | % cheve hiode, trae haemto, {g}e4f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2|| % cheve hiode, trae haento; {g}e4f2 {g}B4f2| {g}e4f2 {g}eG3{d}B2 | % cheve hiove, cheve cheemto, {g}e4f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2|] % cheve hiode, trae haento. P:Doubling of Var 2 {g}e4d2 {g}e4B2| {g}e4f2 {g}eA3{d}B2 | % chea cheo, cheve cheento, {g}e4d2 {g}e4B2| {g}e4f2 {g}eG3{d}B2 | % chea cheo, cheve cheemto, {g}e4d2 {g}e4B2|{Adc}d4e2 {g}dA3{d}B2|| % chea cheo, trae haento; {g}e4d2 {g}e4B2| {g}e4f2 {g}dG3{d}B2 | % chea cheo, cheve cheemto, {g}e4d2 {g}e4B2|{Adc}d4e2 {g}dG3{d}B2 | % chea cheo, trae haemto, {g}e4d2 {g}e4B2|{Adc}d4e2 {g}dA3{d}B2|| % chea cheo, trae haento; {g}e4d2 {g}e4B2| {g}e4f2 {g}eG3{d}B2 | % chea cheo, cheve cheemto, {g}e4d2 {g}e4B2|{Adc}d4e2 {g}dA3{d}B2|] % chea cheo, trae haento. P:Ground e{AfA}e3f2 {g}B4f2| {g}e4f2 {g}eA3{d}B2 | % edreve hiove, cheve cheento, e{AfA}e3f2 {g}B4f2| {g}e4f2 {g}eG3{d}B2 | % edreve hiove, cheve cheemto, e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2|| % edreve hiode, trae haento; e{AfA}e3f2 {g}B4f2| {g}e4f2 {g}eG3{d}B2 | % edreve hiove, cheve cheemto, e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dG3{d}B2 | % edreve hiode, trae haemto, e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2|| % edreve hiode, trae haento; e{AfA}e3f2 {g}B4f2| {g}e4f2 {g}eG3{d}B2 | % edreve hiove, cheve cheemto, e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2|] % edreve hiode, trae haento. 6. Multiple Modes in the Same Tune == =============================== Some tunes switch mode partway through; a trick that is only possible with the human voice or a chromatic instrument like the fiddle. The oldest notated version of "Tibbie Fowler" is very simple: X:0 T:Owin at her G:song or reel S:Margaret Sinkler MS, Glasgow 1710 M:4/4 L:1/4 Q:1/2=160 K:Ddor A|GGGA|FFcA|GGGA|F>ED:| f|dddf|cAfc|ddde|f>edg| fdfc|AFcA|GGGA|F>ED|] Later versions are often like this one. It has a sixth gap, but the third varies between natural and sharp, making it a mixture of dorian and mixolydian: X:0 T:Tibbie Fowler of the Glen G:country dance S:Duke of Perth MS (NLS MS 21715) M:C| L:1/8 Q:1/2=96 K:DDor E|DGGA ^F>GAc|BGGA ^F>EDE|G/G/G GA ^FGAc|dGGA ^F>ED:| a|fddf c>dcA|fdde f>gag|fddf AFcA|dGGA ^F>ED:| This is a common feature of Scandinavian music, where it may be used in local versions of non-Scandinavian tunes. In Playford's 1651 collection there is a tune, probably Scottish, called "Stingo", straightforwardly in the minor mode: X:0 T:Stingo G:dance song M:6/8 L:1/8 Q:3/8=108 K:GMin G2G d2B |cA2 F2F |G2G d2B|G3 B3:| B2B B2A/B/|c2c c2c |d2d g2g|d3 f3 | B2B B2A/B/|c2c c>de|dc>B cA2|G3 B3|] Thirty years later it had turned into "Lulle me beyond thee" in the dorian/minor hexatonic scale with sharpened leading notes: X:0 T:Lulle me beyond thee G:song or dance M:6/8 L:1/8 Q:3/8=96 K:DMin A2A f>ef|g>fg a3 |A2A f>ed|^c3 d3:| f2f g>fg|a>ba g2c|f2f g>fg| a3 g3 | a>ba g>fe|f>ed a3 |A2A f>ed|^c3 d3|] John Hamilton gave it new words early in the 19th century, with a dorian first half and the second half in the minor with sharpened leading note: X:0 T:Up in the Morning Early G:song S:Gall and Inglis, Select Songs of Scotland M:6/4 L:1/4 Q:3/4=92 K:GDor D|G2A B2c|d>ef F2F |G>AG d2c/A/|G3 d2D| G2A B2c|d>ef F2F |G>AG d2c/A/|G3 d2|| K:GMin B|B>cB B2B|c>dc c2z |d>ed f2e |d3 f2B| B>cB BcB A>G^F |G3 d2|] and it turned up in Shetland a few centuries later, adapted under Norse influence into a far more subtle tune that goes through dorian, mixolydian and major: X:0 T:Sister Jean G:slow air S:Catriona Macdonald M:6/8 L:1/8 Q:3/8=80 R:andante K:DDor D2E F2G|ABA G2F|E2C C2G|E3 D2C|D2E F2G|ABA A2G|A2d d2c|d3 D3:| K:DMix A2B c2d|efe e2c|A2B c2G|E3 C3 |A2B c2d|efe e2d|\ K:D f2d d2c|d3 A3 | K:DMix A2B c2d|efe e2c|A2B c2G|E3 C2B|A2A F2D|A2A F2D|A2d d2c|d3 D3|] The other way to shift mode in a tune is by filling in or opening gaps. X:0 T:The Kilt is My Delight G:reel S:Logan's Collection M:C| L:1/8 Q:1/2=108 K:D % major/mixolydian/dorian pentatonic, D-final CG-gap e|A>AA>B A>Bd>f|e>de>f d>BBAA>B A>Bd>f|ede>f d2d:| % major/mixolydian hexatonic, D-final C-gap e|g2 a>g f2 a>f|e>de>f d>BBg f2 a>f|ede>f d2de| g2 a>g f2 a>f|e>de>f d>BBAA>B A>Bd>f|e>de>f d2d|] This alternates in each section between mixolydian/dorian/minor pentatonic and dorian/minor hexatonic: X:0 T:The Wee Man from Skye C:P.M. Donald McLeod G:march M:2/4 L:1/16 Q:1/4=84 K:AMix BB |A4 A2 :| [2 e2ed deed |Beed B2AB |A4 A2 || Bd B2AB |dGG2 Bd B2d2| eAA2 BB |A4 A2 :| BB |A4 A2 :| [2 eAA2 BB |A4 A2 |] The pipe march "The Conundrum" is more complex, progressively filling in gaps from one section to the next. The first part omits both G and D, fitting the mixolydian/major/lydian pentatonic scale. The second part fills in one gap, inconspicuously adding a few Gs to make the tune major/lydian hexatonic. The third part makes them slightly more noticeable. The last part adds Ds as well; the tune only becomes unambiguously in the major mode near the end. X:0 T:The Conundrum G:march M:2/4 L:1/16 Q:1/4=84 K:AMix A>B|c2A>c e>fc2 |A>ce>a f2e>f |a2e>f e>fc2|A>ce>c B2 A>B|c2A>c e>fc2 |A>ce>a f2e>f |a2e>f e>fc2|B2A2 A2:| f>g|a2e>f a>ea2 |e>fa>e f2e>f |a2e>f e>fc2|A>ce>c B2 [1 f>g|a2e>f a>ea2 |e>fa>e f2e>f |a2e>f e>fc2|B2A2 A2:| [2 A>B|c2A>c e>fc2 |A>ce>a f2e>f |a2e>f e>fc2|B2A2 A2|| e2 |A>Bc2 A>BcB c2e2 |f>ga2 e>fc2|A>ce>c B2 e2 |A>Bc2 A>BcB c2e2 |f>ga2 e>fc2|B2A2 A2:| a2 |f>ea>e f2eea>e|f>ga2 e>fc2|A>ce>c B2 [1 a2 |f>ea>e f2eea>e|f>ga2 e>fc2|B2A2 A2:| [2 A>B|c2d>c e>Ac2 |d>ce>A f2e>f |a2e>f ecA|e>cA B>cd|e3 e>cA|B>cd c>BA| e3 e>cA|e>cA B>cd|eed|c>dB A3 :| A>ce A>ce|B>df B>df|A>ce A>ce|B>cd c>BA| A>ce A>ce|B>df B>df|eed|c>dB [1 A3 :|\ [2 A2 || e|a2e e>dc|a2e e>dc|a2e e>dc|B>cd c>BA| a2e e>dc|a2e e>dc|eed|c>dB A2 :| % mixolydian B|ced|c>dB [1 A2 :|\ [2 A3 |] This procedure, of only filling in a gap at the very end of the tune to create a climax, is common in all kinds of Scottish music. The idea goes back a very long way. Here is a mediaeval piece in the style of a French religious song, and perhaps composed by a Frenchman; it's one of the oldest pieces of music known from Scotland. It's in the dorian mode, but the first three sections are dorian/minor hexatonic, with progressively more dorian E's introduced as the piece builds to a climax. X:0 T:Margaret-Eric Epithalamium G:song S:Codex Upsaliensis C233 S:Proc Soc Antiq Scot LXXIII (1939) plate LXXXV N:Composed for the marriage of Princess Margaret N:of Scotland and King Eric of Norway, 31/8/1281 N:Warning! ABC has a strange concept of 6- and 5-plets; BarFly N:implements this in a way that displays them twice as long as N:they are meant to be played. As notated here, playback is N:correct and display is wrong. N:H means a fermata. If your ABC implementation doesn't have that N:feature just edit the H's out. M:C L:1/8 Q:1/4=108 K:GDor GF| G2 A2 cd c2|BA G2 A2 B2| A2 G2 (3FGF GF|\ G2 A2 cd c2|BA G2 A2 B2| AG F2 HG2 :| d2| c2 d2 (cB) A2|G2 A2 c2 A2| B2 G2 (3FGF A2|\ c2 d2 c2 B2|A2 F2 GA B2| AG F2 HG2 :| F2| G2 A2 B2 A2|G2 G2 A2 B2| c2 B2 A2 A2|\ c2 d2 cB A2|G2 F2 GA B2| AG F2 HG2 :| c2| c2 de f2 e2|d2 c2 d2 e2|(fe) d2 (3cBA A2|\ c2 c2 d2 d2|G2 F2 GA B2| AG F2 HG2 :| g2| e2 f2 (gf) e2|d2 e2 f2 e2| d2 d2 c2 c2|\ d2 e2 f2 e2|d2 e2 c2 d2|(cB) A2 HG2 :| c2| c2 de f2 ed|c2 e2 f2 d2| e2 dc d2 c2|\ c2 de f2 ed|c2 e2 f2 d2| e2 dc Hd2 :| c2| e2 (3def ed e2|c2 d2 dc d2| e2 c2 A2 c2|\ e2 (3def ed e2|c2 d2 c2 d2|(cB) A2 HG2 :| d2|(6defedc c2 c2 cB|AG A2 c2 d2| GF G2 (3ABA A2|\ c2 (5defed c2 cB|AG F2 GA B2| AG F2 HG2 :| d2| d2 (5defed c2 cB|AG A2 c2 d2| GF G2 (3ABA A2|\ c2 (5defed c2 cB|AG F2 GA B2| AG F2 HG2 :| GF| G2 A2 cd c2|BA G2 A2 B2| A2 G2 (3FGF GF|\ G2 A2 cd c2|BA G2 A2 B2| AG F2 HG2 :| All the examples so far are of gradual and subtle shifts, moving between adjacent points in the mode diagram. Shifts follow the lines marked in the Big Picture (that is, there are no shifts between gapped scales with the same number of gaps; the only moves that occur are the opening and filling of gaps, or changes of one step at a time in seven-note modes). This is quite unlike the usual procedure in art music, where changes of mode tend to be dramatic and unmistakable, usually between major and minor. There are some examples like that in folk music, but they usually feel like conscious exercises in weirdness. There is nothing subtle about this: X:0 T:The Flowres of the Forrest S:Skene MS via Dauney G:lament, arranged for lute M:4/4 L:1/8 Q:1/4=72 K:D [d2D2] d2 efab | afed B2A2 |\ [d2D2] d2 efab | afed [d4A4D4] :| AB =c2 Bc [d2D2]|[A2D2] fe d/B/A3 |\ [A2D2] Bd b2 af |[e3A,3] d/e/ [d4A4D4] |] That startling shift is from the lydian/major/mixolydian pentatonic mode direct to the mixolydian; the gap at the fourth (G) is not filled in first, as a move through the major/mixolydian hexatonic mode would require. The tune is from a manuscript of lute music predating the general use of the fiddle, and from the Borders, where the bagpipe had a long history. It may even be as old as the event it is thought to commemorate, the Battle of Flodden in 1513; perhaps it records an old and local kind of tonality. The basic melody has a nine-note range from A to b, suggesting a chanter with either one extra note above a one-octave A dorian scale, or two above a G mixolydian scale. This tune, noted down in the Borders around 1800, shifts in a similarly emphatic way from minor to major, and more subtly back again: X:0 T:Young Hynd Horn G:song S:C.K. Sharpe/Lady John Scott, MS.843 M:4/4 L:1/8 Q:1/4=100 K:GMin GA |B2BA G2GA|B2c2 d2||\ dd |e2dd c2cc|d2^f2 g2|| g^f|g2GG G2GA|B2cB A2||\ GF |B2BB c2c2|dcBA G2|] This tune (originally for the harp, but best known in a slightly modified version for the whistle) is dorian/minor/phrygian pentatonic till near the end, where a grinding unexpected F natural momentarily throws it into the phrygian mode: X:0 T:Da mihi Manum G:harp tune C:Rory Dall (Scotland, 17th century) N:not the Irish harper of the same name 100 years N:previously, despite what you read in some books S:Dan Wright, Aria di Camera c.1726 N:arrangement for the transverse flute M:6/4 L:1/4 Q:1/4=120 K:EMin D|EGG G2E |EGG G2E |EGG GAB |Bed B2A/G/| AAe BBd |A>BA/G/ E2D |EGG g2D |EGG g2D | EGG gab |d>ba/b/ g2D |EGG GAB |Bed B2A | AAe BBd |ABd e2d/B/|dde g2e/d/|eeg a2g/e/| ggd/e/ ggd/e/|gga b3 |bbb b2a/g/|a/g/a/b/a/b/ a2g | eeg/e/ dde/d/|BBd/B/ A2G |GGB/d/ =f2e/d/|eeg e2d/B/|\ ddg BBd |A>BA/G/ E2D |] Breathnach points out that this high F natural is common in Irish music, where it's generally reached by a slide from below. Whistle players often play that tune with one of those Irish-style slides; obviously Rory Dall's harp can't have done that, and it seems to be a folk-revival idea of very recent times. A common idea in art music is to shift between major and minor keys using the same pitch set ("relative" major and minor keys, like C major and A minor). This also works with other modes and with gapped pitch sets, like this pentatonic song from the North- East of Scotland: X:0 T:Rhynie S:101 Scottish Songs M:C L:1/8 Q:1/4=140 K:C c2|e3d c2G2|A2c2 A2G2|e3 d c2G2|Ac3 d3 c|e3d c2c2|c2c2 A2G2|c3 G G2G2|E2G2 A4|| G3C C2C2|E2D2 EA3 |G2C2 C2C2|E2G2 c2|] 7. Leading Notes and Alternate Rising/Falling Modes == ================================================ In some traditions like Arabic music, modes are more complicated in having two alternate forms used when the melody is rising or falling. In Scottish music it sometimes happens like this: X:0 T:The Birks of Invermay G:strathspey M:4/4 L:1/8 Q:1/4=120 K:G B>c|d3e d>BA>G|A>GA>B E3G |D>ED>B, D2G>D |B,2D>E D2G>B| d2ef/g/ dG|c>BAG E2B>A|G>ED>B, D2G>A |B2A>G G2 || D>C|B,3D E>DEGAed>B c>BAdc>B A2d>c| B>de>f g3e |d>BA>G E2B>A|G>ED>B, D2 G>A|B2A>G G2 |] which is in the major mode, but the seventh only occurs in ascending lines. Or this: X:0 T:Scots Wha Hae G:song or march M:2/4 L:1/8 Q:1/4=80 K:EMix E|E2 E>C|E>F A>A|F2 F>E|F>G AB |c2 B>A|A>B c>B|A>F F>E|E3|| c|c2 c>B|c>d e>c|cA|B>c d>f|e>c B>A|A>B c>B|A>F F>E|E3|] which would be dorian/mixolydian hexatonic except for the use of the G in the rising sequence in bar 4. Scale patterns and sequences often result in gaps getting filled in; they are more frequent in English and Irish music, which is why they use gapped scales less often than Scottish tunes. Distinct rising/falling mode occurs frequently in Western classical music with minor-key tunes (as "sharpened leading notes"). These asymmetric scales are more common in the Lowlands, perhaps because harp and bagpipes were not such dominant influences. (They're also common in Simon Fraser's Highland music transcriptions of from the early 19th century, but Fraser was equally unreliable as a historical or musical source: he wrote what he imagined he heard - Highland peasants trained to sing Mozart). The seven-note version is called the MELODIC MINOR scale. X:0 T:Melodic Minor Scales L:1/4 M:10/4 K:FMin "^F" F2 GA Bc =d=e f2|f2 ed cB AG F2|| M:10/4 K:CMin "^C" C2 DE FG =A=B c2|c2 BA GF ED C2|| M:10/4 K:GMin "^G" G2 AB cd =e^f g2|g2 fe dc BA G2|| M:10/4 K:DMin "^D" D2 EF GA =B^c d2|d2 cB AG FE D2|| M:10/4 K:AMin "^A" A2 Bc de ^f^g a2|a2 gf ed cB A2|| M:10/4 K:EMin "^E" E2 FG AB ^c^d e2|e2 dc BA GF E2|| M:10/4 K:BMin "^B" B2 cd ef ^g^a b2|b2 ag fe dc B2|| M:10/4 K:F#Min "^F sharp" F2 GA Bc ^d^e f2|f2 ed cB AG F2|| M:10/4 K:C#Min "^C sharp" C2 DE FG ^A^B c2|c2 BA GF ED C2|] A reduced minor scale with a gap at the sixth, along with a sharpened seventh, occurs in this Border ballad tune of about 1800: X:0 T:Fine flowers in the valley G:song S:C.K. Sharpe/Lady John Scott, NLS MS.843 M:4/4 L:1/8 Q:1/4=100 K:GMin D2 |G2G>F D2D>D|G2G>F D4||\ B4 A2Bc |d2c2 B2|| Bc |d2d2 d>cBA|GB D2||\ D>D|D2B2 BAG^F|G4 G2|] in this well-known reel: X:0 T:Glenburnie Rant T:Sma Coals for Nailers G:reel M:C L:1/8 Q:1/2=112 K:EMin % dorian/minor hexatonic, sharp D leading notes e2|E2EF E2EF|DEFG AFDF|E2EF E2B2|efe^d e2 :| B2|e2ef g2fe|defg afdf|e2ef g2fe|efe^d e2B2| e2ef g2fe|defg afdf|g2ag f2gf|efe^d e2 |] and in this jig published by Niel Gow: X:0 T:The Sailor's Wife G:jig M:6/8 L:1/8 Q:3/8=112 K:DMin % hexatonic, sharpened C leading notes E|DEF E2D|d2e f2g|agf edc |AcA GEC| DEF E2D|d2e f2g|agf ed^c|d3 D2:| e|f>ga fga|fga agf|ecg ecg |ecg gfe| f>ga agf|efg gfe|def ed^c|d3 D2:| This uses the full asymmetric minor scale: X:0 T:Watson's Class G:strathspey C:Niel Gow M:C L:1/8 Q:1/4=120 K:EMin G/F/| EBGB EB e>^c |d>B A/d/A/G/ G/F/E/D/ D G/F/| ABGB EB e>b |a/g/f/e/ g/f/e/^d/ eE E :| g/f/|:e>fg>e g/a/b/g/ e>f |d>fad f/g/e/f/ d [1 f | e>fge g/a/b/g/ ea |g/a/b/g/ f/g/a/f/ ge e>B:| [2 a | g/a/b/g/ f/g/a/f/ e/f/g/e/ ^d/e/f/d/|B/^c/d/B/ e/c/d/F/ GE E |] Sometimes the same tonality appeared when old tunes were modified into minor keys, like the changes introduced into this old Highland reel in the dorian mode during the 18th century: X:0 T:An Caora crom G:reel S:McFarlan MS, 1740-3 M:C| L:1/8 Q:1/2=100 K:GDor DG2B AGFE|DG2B cABG|ABcB AGFE |DG2B ABGA:| Gg2a fgfd|dg2a bgag|f>gfd c>BAF|DG2B ABGA:| X:0 T:The Crooked Horn Ewe G:reel S:Sharpe MS, late 1790s M:C| L:1/8 Q:1/2=100 K:GDor DG(GA) FGAF|.D(GGB) cABG|cABG FGAF|D(GGB) A^FG2:| .G(gga) fgaf|.d(gga) fagd|fgdf cfAF|D(dd).c A^FG2:| The later version also introduced a gap at the sixth. The same scale is in effect used in this well-known tune, originally a trade guild march from the Lowlands (the c is barely noticeable): X:0 T:Gloomy Winter's Now Awa G:strathspey S:Alexander Robertson, Caledonian Museum book 3 p57 M:4/4 L:1/8 Q:1/4=120 K:EMin % near-hexatonic, sharpened seventh on rising phrases e>ee>f e>dB2|g>gg>b a>gf2|e>eb>e e>dBG|AGGB A>GF2|G>FEG FB B2|g>gg>b a>gfa|g>e g/f/e/d/ Bee2:| g>gd'>g f>ga2|g>feg fb b2|B>d d/c/B/A/ Bef>a|g>e g/f/e/d/ Bee2:| And the sixth gap got filled in with a later version of "An caora crom", using the art-music minor scale where the sixth is sharpened, though it is still not an important note in the tune: X:0 T:The Ewie Wi' The Crookit Horn G:strathspey S:Kerr's Merry Melodies volume 3 M:4/4 L:1/8 Q:1/4=120 K:GMin DA F>GA>F|DAB>G |A>Bc>B A>G F>C |DB A>^FG2:| Ga f>ga>f|da f>ag2 |da b/a/g a/g/f|dg a>^fg2 | f>gf>d c>BAB c>Ad>=e|fB c>A G2|] It happens much earlier. This is from the Skene Manuscript of lute tunes from 1625; this is a still-well-known tune, in the mixolydian/dorian hexatonic mode. Among the fast scales at the end, the gap is filled in and a sharpened leading note is introduced. The manuscript was heavily influenced by the art music of the time. X:0 T:Adew Dundee G:song arrangement S:Skene MS via Dauney N:I play the fast runs dotted; the MS doesn't say you can't M:6/4 L:1/8 Q:3/4=70 K:DDor [A2A,2] d2 d2 [d4D4] d2 |[c4C4] d2 e2 g4 |\ [a4A4] c'2 [a4A4] c'2 | a2 g2 e2 [d4D4] D2:| a2 c'2 c'2 [c'4c4] c'2 |[c4C4] d2 e2 g4 |\ [a4A4] c'2 [a4A4] c'2 |[a2A2] g2 e2 d6 :| dcAc d2 dcAc d2 | edcd e2 edcd e2 |\ ageg a2 [aA]geg a2 | gac'age d6 :| c'bc'd' c'2 c'bc'd' c'2 | cBcdef [g4G4] g2 |\ d'^c'd'e' d'2 d'^c'd'e'd'2 | d'2 e'd'c'b [a6A6] | c'bc'd' c'2 c'bc'd' c'2 | cBcdef [g4G4] g2 |\ ageg a2 ageg a2 | gac'age [d6D6] |] David Johnson's "Scottish Fiddle Music in the Eighteenth Century" has a substantial discussion of how art music influenced traditional music; most of it is beyond the scope of this document. And any classically-oriented music theory text will explain the various forms of the minor mode and where they tend to be used. This is the appropriate framework to describe some of the more consciously "artistic" work of the Gows, Marshall and Scott Skinner; but this is a small part of the Scottish repertoire, and, as in the example of "Miss Cruickshank's Reel", modal idiom has a habit of taking over once these tunes get into circulation. "Fy gar rub her o'er with straw" is a song first noted about 1700, but perhaps much older. This version of the 1760s for the flute changes mode on rising phrases: X:0 T:Fy gar Rub her o'er with Straw G:song S:NLS MS.3327, Inglis.12 M:4/4 L:1/8 Q:1/4=120 K:AMin c3 B A2e2|decd B2AG|c3 d e^fg2|edcB A4:| g2e2 e2dc|Bcde B2AG|g>agf e2 g2|ageg a3b| g3 f e2dc|Bcde B2AG|c3 d e^fg2|edcB A4:| There are other tunes like this where the sixth rather than the seventh is the note that gets sharpened on rising phrases. Perhaps this was a local development of the art-music minor scale in a more idiomatically Scottish direction. But the classical minor scale was thoroughly incorporated into traditional music long ago and is now an integral part of it. 8. Relative Mode Shifts == ==================== A common trick in classical music is to shift between major and minor keys using the same number of sharps or flats, like between C major and A minor; this involves shifting the tonal centre. There are a few tunes in a traditional style that do this: X:0 T:Thunderhead G:jig C:Gray Larsen N:as played around Edinburgh, drastically mutated from how Gray wrote it N:I believe Old Blind Dogs are responsible for this version N:lots of people believe this is a traditional Breton tune; it isn't M:6/8 L:1/8 Q:3/8=120 K:BMin B>BB f>BB|e>BB d>BA|B>BB f>gf|e>cB A>Bc | B>BB f>BB|e>BB d>ef|g>fe f>ed|e>cB A>Bc:| K:D a>fd d>cd|A>dd c3 |B>dd A>dd|d>cB c2A | a>fd d>cd|A>dd c3 |B>dd A>dd|gec d3 :| This pipe arrangement of a tune already given here moves between mixolydian/dorian hexatonic in A and dorian in E: X:0 T:The Ewie wi the Crookit Horn G:jig C:arr. John A MacLellan M:6/8 L:1/8 Q:3/8=120 K:AMix AAA A2B|G2A BGG|AAA A2B|d2B cAA| d2c B2A|G2A BGG|A2B cAA|BGG A3:| Bee e2f|d2e dBB|cee e2f|gee f2d| [1 Bee e2f|d2e dBB|cee efg|fdd e3:| [2 g2e fed|e2d cAA|Bee efg|fdd e3|] This is a natural way of getting tonal variety on a bagpipe, since changing the key signature is impossible. It can be useful on other instruments. Here's an example of a set I constructed to play with a friend who uses a lever harp. It never changes the absolute pitch set, so she never needs to flip a lever. And for the hell of it, there is no change in rhythmic pattern either, until the very last tune. Instead the variety comes from a continual change in tonal centre. It also alternates familiar and rarely-played tunes. X:0 T:Two-Sharp Reel Set G:set of reels M:C| L:1/8 Q:1/2=104 K:AMix P:Kate Dalrymple % A major/mixolydian hexatonic A2Ac B2Bc|A2Ac B2Bc|A2a2 fedc|B2e2 c2A2:| e2ef edcd|e2a2 e2c2|e2a2 e2a2|e2a2 e2c2 | dddf ccce|BBBc edcB|A2a2 fedc|B2e2 c2A2|] P:Prince Charlie % E dorian E2EF B2Bc|d2AG FDDF|E2EF B2Bc|dBAF GEEF | E2EF B2Bc|d2AG FDDF|EFGA B2Bg|fdBd e2eB|| eBef geBg|fbag fddf|eBef geBg|bgaf e2eB | eBef geBg|fdAG FEDe|geBg AfGe|FdAF E4 |] P:Fairy dance % D major f2fd f2fd|f2fd cde2|f2fd gfed|cABc [1 d4 :|\ [2 defg|| a2af b2ba|gfge a2ag|f2fd gfed|cABc [1 defg:|\ [2 d4 |] P:Hunter's Bog % B minor B2Bc d2ef|gfeg f2ed|c2BA e2dc|a3f ecAc | B2Bc d2ef|gabg f2af|e3g fece|d2B2 B2c2 | % D major dAFA defd|gfed ceAc|d2ba gfed|ceBc A2dc | B2gf edcB|Acdf a2gf|gbeg fadf|ceAc d2f2|] P:Tail Todle % D major/A mixolydian double tonic d2fd g2fe|d2fd e2cA|d2fd g2fe|fgaf e2cA:| g2dB B2dB|g2dB e2cA|g2dB B2dB|A2af e2cA:| P:Short Coated Mary % E mixolydian/dorian hexatonic E2B2 BABc|d2AF DEFD|E2B2 BABc|d2AF E2E2:| d2dB e2e2|d2d2 FFFD|d2dB e2e2|d2AF E2E2 | d2dB e2e2|d2d2 FFFD|E2B2 BABc|d2AF E2E2|] Some of the oldest tunes in the repertoire make systematic alternations in mode between two tonal centres one step apart; most commonly between the dorian mode and the relative major below it, or the mixolydian mode and the relative minor below it. This technique is usually called a DOUBLE TONIC. It seems to be particularly common in 9/8 tunes, like these two jigs where each half starts in the dorian and ends on the major a step below. Almost all 9/8 tunes are circular dance melodies; the bars in the major are intended to lead back to a repeat. (The first is also known in England and Ireland under a variety of names; the second is one of the oldest of a family of tunes which includes the recent Irish slip jig "The Butterfly"). This kind of tune probably originated in northern England late in the 17th century as a variant of the older 3/2 hornpipe. X:0 T:Brose and Butter G:jig S:Bremner via Murdoch Henderson M:9/8 L:1/8 Q:3/8=120 K:ADor cde AcA AcA|cde AcA B2G|cde AcA ABc|B2G Gge dBG:| cde ege ege|cde ege dBG|cde ege efg|f2d dge dBG:| X:0 T:I Have a Wife of My Ain G:jig M:9/8 L:1/8 Q:3/8=120 K:EDor EFE GGA B3|E2E G2A BGE |\ E2E GGA B3|D2D dcB AFD|| gag fgf e3|E2E G2A BGE |\ g2g fgf e3|D2D dcB AFD|] Double tonic tunes may take a more emphatic form where the shift is not between two relative modes, but between two keys with different signatures. This tune hints at that. It's mostly in E dorian, but each part ends in D, the same tonal shift as the previous two tunes. The E tonality is reinforced by a sharpened leading note: X:0 T:Mrs McDonalds Reel S:M. Murray's MS for piano, 1817 (in my possession) M:C| L:1/8 Q:1/2=104 K:EDor F|E2EF BEEF|E2EF dFDF|E2EF EFGA|B/c/d AG FDD:| F|Eee^d eEEF|Eeec dDDF|Eeed Bcdc|Bbfe dDD:| This tune by Niel Gow is the full monty, alternating between D major and C major: X:0 T:Lady Charlotte Murray's Favorite C:Niel Gow G:jig M:6/8 L:1/8 Q:3/8=120 K:D A/G/|F2D DFD|dFD AFD |E/=F/GE =CEG|dGE =CEG| F2D DFD|dFD AFD |G=cG EFG|AFD D2:| g |f2d dfd|afd de=f|e2=c cec|gec efg| f2d dfd|afd efg |fdf ece|dAF D2g| f2d dfd|afd de=f|e2=c cec|gec efg| afa geg|fdf edc |Adc cBc|dAF D2|] The country dance "Staten Island" (originally a Scottish tune from the late eighteenth century called "Burns' Hornpipe") almost sounds like a parody of that favourite compositional trick of Niel Gow's: X:0 T:Staten Island G:reel, country dance M:C| L:1/8 Q:1/2=108 K:D AG|FDFG A2A2|dfed dcBA|B2GB A2FA |G2E2 E2AG | FDFG A2A2|dfed dcBA|d2d2 efge |f2d2 d2 :| fg|a2fa g2eg|f2df ecA2|=c2c2 e=fge|=c2c2 e=fge| a2fa g2eg|f2df ecA2|d2d2 efge |f2d2 d2 :| That tune may have been around for a while, but it still sounds more like a joke that caught on than an organic outgrowth of the older Scottish idiom. The earliest versions I've seen of it are in D major throughout. The next piece may have started out as a double tonic tune, but has ended up alternating between G mixolydian and almost every imaginable tonality with the same key signature. It's heptatonic, perhaps a transcription of a Lowland pipe tune, but whereas almost all pipe tunes set a definite tonal centre in the odd-numbered bars, this one does it in the even-numbered ones. (The title means "the well-filled codpiece"). X:0 T:The Well Buked Ballap S:James Thomson's MS for the treble recorder, 1702 B:David Johnson, 21 Scots Tunes for the Treble Recorder N:ornamentation omitted, see Johnson's edition M:C L:1/16 Q:1/4=120 K:GMix de|f3g f2c2 A4 c2ef|g3a g3d B4 d2 de|f2f2 Afed e2e2 cdec|d2de d3G B4 d2:| fe|defg f3c A4 c2ef|efga g3d B4 d2 de|defg f2ed cdef e2dc|Bcde d3G B4 d2:| 9. Other Key Changes == ================= Art music has heavily influenced most forms of popular music, but has had little impact on Scottish traditional idiom. One feature common to almost all British popular song since 1800, and almost totally absent from Scottish music, is changes of tonal centre while keeping in the same mode ("change of key" in more usual terminology). Pieces that do this, and have managed to enter the Scottish repertoire, still sound decidedly different from the main body of tunes composed in the modal system. This sentimental song from the late 1790s modulates to A (in art-music theory, the "dominant") in bars 5 and 6: X:0 T:The Blue Bell of Scotland G:song M:2/4 L:1/8 Q:1/4=80 K:D A|d2cB|A2Bc/d/|FFGE |D3 :| A|FDFA|d2Bc/d/|cAB^G|A2Bc| d2cB|A2Bc/d/|FFGE |D3 |] Guitarists like this sort of thing because it gives them more chords to try and lets them use what they already know. The rest of us can do without it. One of the few examples of such change of key (again, from D to A) that still manages to sound like a traditional tune is this: X:0 T:Miss Susan Cooper G:reel C:Ronnie Cooper M:C| L:1/8 Q:1/2=108 K:D (3ABc|dfed B2dB|A2FA DAFA|ABde fa^ga|g2fd eAce| dfed B2dB|A2FA DAFA|ABde fafd |eAce d2 :| dB |Bcde fBBB|def^g a2gf|eAce a2^ga|g2fd eAce| dfed B2dB|A2FA DAFA|ABde fafd |eAce d2 :| One genuinely old tune that does a similar modulation, from A minor to E minor, is this one, well-known in Scotland though it may be from England: X:0 T:The Drummer or Good Morrow to your Night Cap G:reel S:William Campbell: New and Favourite Country Dances, book 19 M:C| L:1/8 Q:1/2=104 K:AMin B|ABcA E2E^F|GABc dBGB |ABcA E2Ef|edcB A2A:| B|c2ce d2de |c2ce d/c/B/A/ GB|c2ce d2df|edcB A2A:| 10. More on Bagpipes and Other Limited-Range Instruments === ==================================================== The Highland pipe uses a scale which is nearer to the Mixolydian mode than to anything else in the Western system (it is almost identical to one used in mediaeval Arabic music, which is presumably coincidence). It is written as if based on A, though the actual pitch is B flat. The two tenor drones of a Highland pipe are tuned an octave below the low A on the chanter, with the bass drone (added in the 18th century) an octave lower. When Highland pipe tunes are played on other instruments, they are nearly always played at the written pitch of A, with the other notes of the scale brought into line with the Mixolydian scale. (Bad fiddle transcriptions often get this wrong, and sharpen the G's to produce a major key). There are only nine notes in the standard chanter scale; some chanters and some fingerings can produce more, but these are never called for in traditional pipe music. A large proportion of the tunes in the Scottish repertoire fit this scale, even if they are not part of the pipe repertoire today. Whether this is because they were originally pipe tunes, or because the pipes were designed to play Scottish vocal tunes that already fell into that scale, is anybody's guess. X:0 T:Highland pipes (as they sound) M:21/4 L:1/4 K:BbMix B,,4 B,4 B,4 ABcd efga b|] X:0 T:Highland pipes (as written) M:21/4 L:1/4 K:AMix A,,4 A,4 A,4 GABc defg a|] Written Highland pipe music usually omits any key signature - the two sharps are taken as read. Older sources may put the two sharps in explicitly. Some sources may even use three sharps; in that case, just ignore the sharp on the G. David Glen's books from the nineteenth century used the ingenious trick of giving the key signature as a pianist or fiddler would play the tune - tunes in his collections have signatures ranging from zero to three sharps, all of which a piper would ignore. Lowland pipes have a similar conical-bore chanter to Highland pipes and use a similar scale. Some older smallpipes, with a parallel-bore chanter, used a shifted scale with the tonal centre at the bottom of the range and providing one or two higher notes; in A major, ABcdefgab, or G major, GABcdefga. They are less standardized than Highland or Lowland pipes and some old examples have even had their chanter fingerholes recut to alter their basic mode. This is a typical Border pipe tune for a mixolydian chanter with the extended range, GABcdefga: X:0 T:Soor Plooms in Galashiels G:song M:4/4 L:1/8 Q:1/4=104 K:GMix GA|B3c B2ge|dBAG A2B>A|G3A BABd|e3d B2dg| edBe dBAd|BAGB A3B |GABc degc|B2G2 G2 :| d2|efga g2G2|g2 de/f/ e2dc |B2de f2gf|e4 d3d | efga g3G |gbag e2dc |Bcde fagf|e4 d2d2| efga g3G |g2 de/f/ e2dc |BAB2 dBd2|ede2 f3a | geg2 ede2|dBd2 BAB2 |g2fe dBgc|B2G2 G2 |] The tune uses the same gap-filling development as the Highland tunes quoted before; the first part is major/mixolydian hexatonic, the second mixolydian. But here the effect is much more dramatic and unmistakable, the natural f's becoming more and more strongly accented up to the climax in bar 20. Pipe tunes frequently use pentatonic or hexatonic scales of the types described above. Among the seven note modes, the commonest are the mixolydian mode (for tunes written as ending on A) and the major mode (tunes ending on D). Most Scottish tunes tend to have the home note at the lower end of the tune's range, with no more than one note below. The mediaeval theorists who invented the naming system for the 7-note modes classified tunes like that as being in AUTHENTIC modes. Some melodies of Gregorian chant have a very limited range, to meet the lowest common denominator among the monks' voices. This is the same problem the bagpipe faces with its nine- note scale; the only modes that have a tonal centre in two octaves are the A-final ones. Unlike most major-mode tunes, D major tunes for the pipes have only one home note, in the middle of the range, rather than two an octave apart. The mediaeval theorists described tunes like this as being in PLAGAL modes; each of the seven modes they recognized had both authentic and plagal forms, with different ranges. (Despite what the names suggest, plagal modes probably came first). This is a typical plagal major mode tune, originally a song but playable on the pipes: X:O T:The Bonny Lass of Fyvie M:C| L:1/8 Q:1/2=60 K:D A|d>cde d3 A|d>cde d3 A|d2 fg a2gf|e2A2 A3 g|f>efg a2AA|d>edB G2BB|A2 d>d edcB|A2d2 d3|] Authentic major-mode tunes with a range of exactly an octave are unusual in Scottish music; there is nearly always an extra note at either or both ends of the scale. The verse of this song stays within one octave, but the chorus goes higher: X:0 T:There was a Lad was Born in Kyle M:C| L:1/8 Q:1/2=72 K:D D|D2D2 A2D>E|F2E2 E2F>E|D2D2 A2D>E|F2d2 A3 A|BcdA FGAF |BAGF E2FE |D2d2 ABAG |F3 E D2 || A>B|d2d2 defd |edef e2dB |ABde defe |d2A2 B2A2| BcdA FGAF |BAGF EGFE |D2d2 ABAG |F3E D3 |] And this unusual tune from the Western Isles (a song with words from a poetic tradition common to Gaelic Scotland and Ireland) is in the plagal phrygian mode: X:0 T:Deirdre's Farewell to Scotland M:3/4 L:1/4 Q:1/4=100 K:CPhr (e> c) B|A2 A|B2 A|G A> z|(F> G) B|c2 c| c2 B|c2 z| (F A) d|f2 f|e2 c|B A> z|(f e) c|B2 A|(B A) B|c3 |] The same distinction works for gapped scales: in my examples of hexatonic major/mixolydian tunes, "The Smith's a Gallant Fireman" is authentic; "Braw, Braw Lads of Galla Water" and "Haste to the Wedding" are plagal. This distinction vanishes completely with the fiddle; tunes predating the fiddle were often adapted by fiddlers with the range greatly extended. The pipe chanter is not an exact fit to the authentic/plagal distinction; nothing in mediaeval music theory corresponds to the B-final and E-final modes, where the tonal centre is not in the middle of the range. Pipe tunes often have a basic melody in a gapped scale, but have the gaps filled in by upbeats or grace notes. It is quite rare for a full setting of a pipe tune to have the grace notes exactly matching the gapped-scale mode of the tune. In particular it is difficult not to use g as a frequent grace note. Low and high G's on the pipes are often treated differently. The high g is a relatively quiet note, while the low G is the loudest note on the chanter and hence the harshest dissonance against the drones (Alastair Campsie, describing his pibroch for Hugh MacDiarmid, writes that it "resembles nothing more than the spirit screaming against the insensate violence of the world"). And the two notes are not precisely an octave apart. So the high g is used more, and there are many tunes that omit the low G while using the high one (these are a boon to whistle players trying to play them on an A whistle). 11. From the Renaissance to Ancient Sumeria === ======================================= The modal system best known to folk musicians was described by Glarean (or Glareanus) in the Renaissance. It's one of hundreds of modal systems intended to describe dozens of different kinds of music and with several fundamentally different purposes. Glarean's system was built on the Gregorian modal system, which was first defined in the 9th century. There were rival forms of Christian chant that it didn't apply to - the Ambrosian chant of the early Western church that still continued in use (it was a chaotic mixture of older liturgical and folk music that defied any theoretical explanation), the Mozarabic chant of Spain, the Byzantine system (with its own theory that mixed Greek, Hebrew and Arabic ideas) and the chants of Armenia, the Syriac church and Ethiopia. The modal system even oversimplified Gregorian chant to some extent, and was continually revised and adapted to local practices all over Europe for centuries. Perhaps music theory was seen as something you could argue about without the risk of being condemned as a heretic, so it turned into an intellectual boxing ring for 1000 years. The Gregorian system recognized only four authentic and four plagal modes. Its main target was classifying only a part of the chant repertoire, the "psalm tones", melodies used for singing psalms to. In Cistercian monasteries there were only nine psalm tones, one for each of the modes and one extra. (Other orders could use as many as 13). The modal system described more than the scale and final note, with each mode having - a RANGE or AMBITUS, which varied according to the theorist; it was usually a ninth like the bagpipes, but could be just an octave or as much as an octave and a fifth, - an INTONATION (opening cadence) - a RECITING TONE (a repeated monotone in the middle) - an ENDING - and (for some psalms) a FLEX or SECOND INTONATION (a linking note or cadence between two phrases sung on the reciting tone). The reciting tone is sometimes called the "dominant" or "modal dominant"; it doesn't have an associated chord like the "dominant" of later music, and isn't always a fifth away from the tonal centre. It was chosen to be near the middle of the range, so the authentic and plagal forms of a mode had different reciting tones. For some modes it changed over the centuries. Ambrosian chant had too wide a variety of reciting tones to classify. Here are the modes with their ranges and reciting tones, as described in the ninth century. First a "vertical" presentation of the system used in the anonymous treatise "Alia Musica": X:0 T:Plagal modes N:The upper number is the octave species, the lower number the mode N:the top and bottom notes are the limits of the range N:the middle note is the mediant final M:none L:1/1 K:C "^1" "_II" [A,DA]\ "^2" "_IV" [B,EB]\ "^3" "_VI" [CFc]\ "^4" "_VIII" [DGd]|| X:0 T:Authentic modes N:The upper number is octave species, the lower number is the mode N:the top and bottom notes are the limits of the range N:the middle note is the mediant reciting tone N:the bottom note is the final M:none L:1/1 K:C "^4" "_I" [DAd]\ "^5" "_III" [EBe]\ "^6" "_V" [Fcf]\ "^7" "_VII" [Gdg]|| And here is a horizontal presentation of the system of Odo of Cluny, which was less formally sophisticated but described a wider range of tunes. I've split the authentic ones into rising and falling forms and the plagal ones into notes below the tonal centre and those above. The reciting tones are stated at the beginning and in the middle. X:0 T:Mode I, Dorian M:none L:1/4 K:DDor A8|D2 C D E F G A B c d4|A8|d2 c B A G F E D C D4|] X:0 T:Mode II, Hypodorian M:none L:1/4 K:DDor F8|D2 C D E F G A B c d4|F8|d2 c B A G F E D C D4|] X:0 T:Mode III, Phrygian M:none L:1/4 K:EPhr c8|E2 D E F G A B c d e4|c8|e2 d c B A G F E D E4|] X:0 T:Mode IV, Hypophrygian M:none L:1/4 K:EPhr A8|E2 D C B, A, B, C D E4|A8|E2 F G A B c B A G F E4|] X:0 T:Mode V, Lydian M:none L:1/4 K:FLyd c8|F2 E F G A B c d e f4|c8|f2 e d c B A G F E F4|] X:0 T:Mode VI, Hypolydian M:none L:1/4 K:FLyd A8|F2 E D C D E F4|A8|F2 G A B c d c B A G F4|] X:0 T:Mode VII, Mixolydian M:none L:1/4 K:GMix d8|G2 F G A B c d e f g a g4|d8|g2 a g f e d c B A G F G4|] X:0 T:Mode VIII, Hypomixolydian M:none L:1/4 K:GMix c8|G2 F E D C D E F G4|c8|G2 A B c d e d c B A G4|] One psalm tone, used only for psalm 113, "In exitu Israel", didn't fit the system. It had two parts with different reciting tones. It was not given any mode, and was named the "tonus peregrinus" (pilgrim's tune). It may have come from Byzantine chant or some other Middle Eastern tradition older than Gregorian chant. A very similar tune is used for the same psalm in Yemenite Jewish liturgy, and the fall of a tone between the two reciting tones is still current in the music of the Syrian Orthodox Church. And there are several variants of the Gregorian Tonus Peregrinus from different parts of Europe. Its sequence of pitches is D minor authentic. A variant of it (with a rising ending) is the chant of the Teutonic Knights in Prokofiev's music for Eisenstein's film "Alexander Nevsky" - this has now found an even wider audience on soundtracks for computer games. X:0 T:Tonus Peregrinus S:Oxford History of Music M:none L:1/4 Q:1/4=120 K:DMin ABAAAAAGBAGFAAAAAAADFFED|| A4 AGA4GBAGFFG4G4DFFED|] X:0 T:Tonus peregrinus S:Commemoratio brevis, via New Grove Encyclopaedia M:none L:1/4 Q:1/4=120 K:DDor A(BA)A AAA AAG AG||AAA AGG GG GGF DFF(ED)|| Glarean added four more modes, the authentic and plagal forms of the minor and major modes. X:0 T:Mode IX, Aeolian M:none L:1/4 K:AMin e8|A2 G A B c d e f g a4|e8|a2 g f e d c B A G A4|] X:0 T:Mode X, Hypoaeolian M:none L:1/4 K:AMin c8|A2 G F E D E F G A4|A8|A2 B c d e d c B A4|] X:0 T:Mode XI, Ionian M:none L:1/4 K:C g8|c2 B c d e f g a b c'4|g8|c'2 b a g f e d c B c4|] X:0 T:Mode XII, Hypoionian M:none L:1/4 K:C e8|c2 B A G F G A B c4|e8|c2 d e f g f e d c4|] Glarean idealized the modes to one-octave ranges and paired modes that had a range in common: A, to A: aeolian & hypodorian B, to B: hypophrygian C to c: ionian & hypolydian D to d: dorian & hypomixolydian E to e: phrygian & hypoaeolian F to f: lydian G to g: mixolydian & hypoionian This is much like what you have to do when fitting modes to the bagpipe. The Gregorian system's main antecedent was the version of Greek music theory due to Boethius in the fourth century, Boethius's idea of mode contained no concept of tonal centre or melodic structure - it was simply a way of fitting the seven different octave species (sequences of tones and semitones) into a single octave, the "characteristic octave" selected from the two octaves of the usefully describable music of his time. This two-octave scale was modified by accidentals. There was no implication that E was the final. The system was a calculational aid to help you transpose melodies to fit your instrument while retaining their relative intervals, it wasn't intended to say anything about the internal structure of the melodies. He used the ancient Greek names for the modes. None of them have the same meanings as in mediaeval or Renaissance theory, and I'll leave it as an exercise to work out which is which. X:0 T:Boethius's system N:Double octave with changing key sig, shifted around a static N:characteristic octave E-e M:none L:1/1 K:EMin P:Hypodorian E,F,G,A,B,CD|EFGABcde| || K:EMix P:Hypophrygian F,G,A,B,CD|EFGABcde|f|| K:ELyd P:Hypolydian G,A,B,CD|EFGABcde|fg|| K:EPhr P:Dorian A,B,CD|EFGABcde|fga|| K:EDor P:Phrygian B,CD|EFGABcde|fgab|| K:E P:Lydian CD|EFGABcde|fgabc'|| K:ELoc P:Mixolydian D|EFGABcde|fgabc'd'|] The Greek system ultimately derived from the modes of ancient Mesopotamia. These are described on Akkadian cuneiform tablets which give tuning procedures for the lyre, up and down from string to string in fourths and fifths. The names of the modes derive from the names of intervals between pairs of strings on the lyre. Akkadian name Translation Greek name Modern name isartu normal dorian phrygian kitmu closed hypodorian minor embubu reed pipe phrygian dorian putu open hypophrygian mixolydian nid qabli fall of the middle lydian major nis gabari rise of the duplicate hypolydian lydian The name of the third mode suggests that even 3000 years ago on the banks of the Euphrates, pipers had their own scale and the string players had to consciously emulate it to nick their tunes. There are a few examples of Scottish tunes that to some extent fit the more elaborated Gregorian modal system with its fixed cadences and reciting tones, but it's not clear whether they're any more than flukes. This song does recite on a single note for a long time, but it's the tonal centre: X:0 T:Maggie Lauder S:Scots Musical Museum 98 M:4/4 L:1/8 Q:1/4=100 K:A E|AA Ac AA Ac|B>c BA {A}G2B>d |cA AA A>B Ac|e>f ed {d}c2e>c| d>e df c>d ce|B>c BA G2BF/G/|AA Ac B>c Bd|ce B>c A2A2|] And this very old song recites on the tonal centre in its first half and inverts the form of the Tonus Peregrinus by reciting a tone higher in the second half, before wandering up to finish indefinitely on the fifth above in a way no chant ever did: X:0 T:Clout the Cauldron S:Orpheus Caledonius 1733 M:4/4 L:1/8 Q:1/2=80 K:C cccc ccce|dcBA B2AG|Gccc ccce|dcBA B2AG | ddde agec|ddde a2ge|edde agec|edde a2g2|] The first half (the verse) of this Northumbrian song is more like the chant model, in the aeolian authentic mode reciting on e: X:0 T:Bonny at Morn M:3/4 L:1/8 Q:1/4=120 K:AMin B2|e3 f ed|e2 A2 Bc|d3 c BA|G2A2 B2|e3 f ed|e2 A2 Bc|d2 B2 G2|A4:| z2|A2 a2 a2|A4 Bc|B2 g2 g2|G4 B2|AG AB cd|e2 a2 g2|e2 g2 B2|A4:| This pipe reel in A mixolydian/dorian hexatonic reiterates the fifth as determinedly as any psalm singer: X:0 T:Lexie McAskill C:Dr John McAskill M:C| L:1/8 Q:1/2=108 K:Hp e>a|e2e2 d>ee>d|e2d>B G>BB>d|e2e2 d>ee>d|e>gf>d e2:| e>f|g2f2 e2d>B |A2d>B G>BB>e|g2f2 e2d>B |e>gf>d e2:| e>a|e2e2 e2d>B |A>AA>B G>ABB |e>gf>d e2:| g2 |a>ee>a eB|A2d>B G>BB>e|a>ee>a eB|e>gf>d e2:| but it's a 20th century tune written by someone who probably knew Gregorian chant firsthand, rather than any kind of folk survival of similar music. Folk music and chant are more different than lumping them both together as "modal" would suggest. The theorist Grocheio had already considered using the church mode system to describe folk music in the 13th century and decided it wouldn't work. In the form he knew it, he was right. 12. Tetrachords and Pentachords === =========================== For music theorists back as far as the ancient Greeks and as recently as present-day ethnomusicologists, it has often been useful to think of modes as constructed from smaller pieces; two chunks each spanning a fourth or a fifth. This reduces the number of modes you need to think about, since the pieces can be put together in different orders. Curt Sachs, in his book "The Rise of Music in the Ancient World", theorizes that melodies gradually expanded in range from the earliest times (starting with tunes using very few notes, called "oligotonic" by some theorists). At some point there was a divergence: one type of narrow-range melody spans a fourth, with the tonal centre at the top, and the other spans a fifth, with the tonal centre at the bottom. Within these spans, a variety of inner notes were added. When these were combined, putting the pentachord at the bottom and the tetrachord at the top gave an authentic mode (with the tonal centre at both ends) and the opposite procedure (historically older) gave a plagal mode. This construction was done in hardware in some kinds of ancient music - double flutes or oboes had a tetrachord in one hand and a pentachord on the other, and you could create composite modes by selecting two appropriate instruments. (The fingering was like a Highland pipe: at any moment, one or other hand was always fully closed, so that each pipe acted as a drone for the other). An instrument of this type is depicted on a Pictish stone, so the idea may even have been used in Scotland before either the Gaels or the Saxons got here, though there isn't much trace of it now. Middle Eastern music (Turkish art music in particular) exploits the idea of tetrachordal/pentachordal construction to modulate between different modes - typically one tetrachord of the mode will change at a time, and the tune will stay within the new tetrachord for long enough for the listener to register the change before it expands in range again. This resembles the way Scottish music tends to shift mode in small steps, though there's no historical connection and the effect can be very different. The key signatures in these descriptions follow Sachs's idea by putting the tonal centres of the tetrachords at the top and those of the pentachords at the bottom. X:0 T:The Lydian/Major Tetrachord, TTS M:6/4 L:1/4 K:A "_do"E2 "_re"F "_mi"G "_fa"A2 |\ "_fa"A2 "_mi"G "_re"F "_do"E2|] X:0 T:The Mixolydian/Dorian Tetrachord, TST M:6/4 L:1/4 K:ADor "_re"E2 "_mi"F "_fa"G "_so"A2 |\ "_so"A2 "_fa"G "_mi"F "_re"E2|] X:0 T:The Minor/Phrygian Tetrachord, STT M:6/4 L:1/4 K:AMin "_mi"E2 "_fa"F "_so"G "_la"A2 |\ "_la"A2 "_so"G "_fa"F "_mi"E2|] X:0 T:The Lydian Pentachord, TTTS M:7/4 L:1/4 K:ALyd "_fa"A2 "_so"B "_la"c "_ti"d "_do"e2 |\ "_do"e2 "_ti"d "_la"c "_so"B "_fa"A2|] X:0 T:The Major/Mixolydian Pentachord, TTST M:7/4 L:1/4 K:A "_do"A2 "_re"B "_mi"c "_fa"d "_so"e2 |\ "_so"e2 "_fa"d "_mi"c "_re"B "_do"A2|] X:0 T:The Dorian/Minor Pentachord, TSTT M:7/4 L:1/4 K:AMin "_re"A2 "_mi"B "_fa"c "_so"d "_la"e2 |\ "_la"e2 "_so"d "_fa"c "_mi"B "_re"A2|] X:0 T:The Phrygian Pentachord, STTT M:7/4 L:1/4 K:APhr "_mi"A2 "_fa"B "_so"c "_la"d "_ti"e2 |\ "_ti"e2 "_la"d "_so"c "_fa"B "_mi"A2|] These can be gapped in the same way as modes spanning a full octave Narrow range is typical of children's songs all over the world, so it makes sense to look for tetrachordal or pentachordal structures in Scottish children's songs too. This song from 1950s Edinburgh is tetrachordal with an added (unimportant) note above the tonal centre: X:0 T:One Two Three A-Leerie G:children's game song B:James Ritchie: The Golden City M:C| L:1/8 Q:1/2=84 K:C G2G2 GccB|A2A2 AddB | G2G2 GccB|AdAB c2c2|] while this one is gapped pentachordal, TTm: X:0 T:How Many Miles to Babylon? G:children's game song B:James Ritchie: The Golden City M:C| L:1/8 Q:1/2=76 K:F AA/A/ AA GFF2|A2AA G3 A|cccc AFF2|GFGA F4 | AA/A/ AA GFF2|AAAA GFF2|ccc2 AFF2|GF/F/ GA GFF2|] This one is basically pentachordal with an unimportant sixth: X:0 T:Katie Bairdie G:children's game song M:2/4 L:1/8 Q:1/4=90 K:F c>d c>B|A>B c2|B>c B>A|G>A B2 | c>d c>B|A>B c2|F2 AA AB|A G3 | c>c cc |c F2 F|G>A BA|A G3|] showing that even pentachordal tunes don't need to end on the tonal centre. 13. Oddities === ======== Gaps can occur other places in the scale. This tune eliminates the sixth from a mixolydian scale: X:0 T:The Barmaid G:Reel S:Glenallan Collection p19 M:C| L:1/8 Q:1/2=96 K:AMix % but with no f's e|a2 e>c Ac|B>GG>B g>ed>B|a2 e>c Ac|B>GG>B e2A:| a|c>AA>a cc|B>GG>g BB|c>AA>a cc|B>GG>B e2A:| This one would be mixolydian/dorian/minor pentatonic, except that the g's are included (to my ears they sound just plain weird, and they are normally played sharp when the tune is done on fiddle or accordion). So it doesn't use the normal hexatonic pitch set. X:0 T:The Argyll & Sutherland Highlanders at Modder River N:commemorates a catastrophic defeat in the Boer War G:March C:Wm. Robb S:Peter Henderson's tutor M:2/4 L:1/16 Q:1/4=76 K:BMin f2|BBBc B2ce|f2ae f2ec|AAAB AAce|f2aA c2BA| BBBc B2ce|f2ae f2ec|BABc Bfec|c2B2 BB :| ce|f3a f2e2|fefa f2ec|AAAB AAce|f2aA c2BA| [1 f3a f2e2|fefa f2ec|BABc Bfec|c2B2 BB :| [2 BBBc B2ce|f2ae f2ec|BABc Bfec|c2B2 BB || f2|BBBc fBce|fBBB f2ec|AAAB AAce|faga f2ec| BBBc fBce|fBBB f2ec|BABc Bfec|c2B2 BB :| ce|fefa fece|faga f2ec|AAAB eAce|faAa f2ec| [1 fefa fece|faga f2ec|BABc Bfec|c2B2 BB :| [2 BBBc fBce|fBBB f2ec|BABc Bfec|c2B2 BB |] The same pitch set is used in the second half of this little-known pipe march, which eliminates the fourth (the d) from a mixolydian scale: X:0 T:Queen of the Hebrides G:March C:John McLennan B:8th (The Argyllshire) Battalion Argyll and Sutherland Highlanders: A B:Collection of Pipe Tunes (Paterson's Publications Limited, July 1933) M:2/4 L:1/16 Q:1/4=80 K:AMix ec|A2A>B c2A>c |e2A>B cg |a2ed cB|cc BB | A2A>B c2A>c |e2A>B cg |a2ef A>Bc>B|c2A2 A2 :| cd|e>ca>g f2ec |A>Bc>B cc |e>ca>g ff|cc Bd| e>ca>g f2ec |A>Bc>B cc |a2ef A>Bc>B|c2A2 A2:|[2ec| A2A>B c2Ac |e2AB cg |a2ef A>Bc>B|c2A2 A2 || ec|A>Bc>B cc|a>gf>e fc |A>Bc>B cg|fc Bc | A>Bc>B cc|a>gf>e fB|c2A2 A2 :| g2|a2ae fc|A>Bc>B cc |a2ae ff|cc BB[1g2 | a2ae fc|A>Bc>B cg |a2ef A>Bc>B|c2A2 A2:|[2ec| A>Bc>B cc|a>gf>e fB|c2A2 A2 |] And this uses the same pitch set again, eliminating the d from a B-final minor scale. Again the solitary g sounds peculiar, as if dorian was intended. (The composer was an accordion player). X:0 T:Macleod of Mull G:march M:6/8 L:1/8 Q:3/8=84 K:BMin f2B B>cA|A>ce f2a |e>ce f>ec|A>Bc e2f | a>cc B>cA|B>ce f2e |f>aa fec B3 :| a2f a>ff|e>fa f2c |e>ce f>ec|A>Bc e2f | [1 a2f a>ff|e>fa f2e |f>aa fec B3 :| [2 a>cc B>cA|B>ce f2e |f>aa fec B3 || B>cA B3 |B>ce f>ga|ccA B3 |B>ce f2e |f>aa fec [1 B3 :|\ [2 B2f|| a2f e>ff|B>ff f2e |f>aa e>ff|A>ee e2c | [1 a2f e>ff|B>ff f2e |f>aa fec B2f:| [2 B2B c>Bc|B>ce f2e |f>aa fec B2 |] This showy pipe reel manipulates gaps to produce an extraordinary effect of continuous modulation upwards, like an Escher staircase. This is superposed on a scheme of alternating 3-gap and 7-gap modes: X:0 T:The Sheepwife G:reel S:Glendaruel Collection M:C| L:1/8 Q:1/2=92 K:Hp % c and f gaps BB e2 g2 |d>BB>g BB e2 g2 |d>Bg>B AB e2 g2 |d>BB>g BB e2 g2 |d>Gd>B AAA>c Bc f>ecB AGG>B g2 fGG>B g2 fBG>B AGG>B g2 fGG>B g2 fGd>B AB AB AB Ac f>ecB Ac cc Bc f>ecB Ad df d>f a>g |\ f2 e>d df|g2 e>g c>g (3efg:| a2 f>a d>f A>f|a2 f>a d>a (3efg |\ a2 f>a d>f A>f|g2 e>g c>g (3efg:| There are a few Scottish tunes which have a narrow range but are not exactly pentachordal, like this old Border song, allegedly a mediaeval war cry: X:0 T:Teribus ye Teri Odin G:song or march N:the Hawick border tune noted by J. Fingland S:NLS Acc.8985/103(1), Francis Collinson papers M:2/4 L:1/8 Q:1/4=100 K:AMix % sixth gap because the tune doesn't go that high or low A>A A/B/c|e>e cA|A>A A/B/c|dd Bd |\ c>d ee |e>e cA|A>A A/B/c|d>d Bd | cA AA |ce cA|BG GG |Bd BG |\ A>A AA |ce cA|B>A GA |Bd BG|] Or this mysterious pibroch (nobody has any idea what the title refers to) which except for gracenotes uses only the lower end of the chanter scale and omits the C even in that, leaving the notes GABde: X:0 T:Grain in hides and corn in sacks S:Kilberry Book of Ceol Mor N:6,6,4 structure M:C L:1/8 Q:1/4=40 K:HP {ge4}d<{G}d {G2dc}d2 B{g}d{e}A{d}A|{ge4d}B{G2dc}d3 A{g}B{e}G{d}G | {ge4}d<{G}d {G2dc}d2 B{g}e{g}A{d}A| {ge4}d<{G}d {G2dc}d2 B{g}d{e}A{d}A | {g}e2 {g}A{d}A {g}d2 {e}A{d}A|{ge4d}B{G2dc}d3 A{g}B{e}G{d}G|| {ge4}d<{G}d {G2dc}d2 B{g}e{g}A{d}A| {ge4}d<{G}d {G2dc}d2 B{g}d{e}A{d}A | [1 {ge4d}B{G2dc}d3 A{g}B{e}G{d}G| {ge4}d<{G}d {G2dc}d2 B{g}d{e}A{d}A | {g}e2 {g}A{d}A {g}d2 {e}A{d}A|{ge4d}B{G2dc}d3 A{g}B{e}G{d}G:| [2 {g}e2 {g}A{d}A {g}d2 {e}A{d}A|{ge4d}B{G2dc}d3 A{g}B{e}G{d}G|] And this very archaic-sounding Gaelic song from the Western Isles; the genre of songs to the dying is an uncommon one anywhere and this is the only one I know of from Western Europe. It only uses four notes spanning a fifth, with the tonal centre in the middle. It's a kind of tune more often found in Stone Age cultures, from the Americas to Melanesia. X:0 T:The Death Croon S:Marjory Kennedy-Fraser, Songs of the Hebrides, volume 1 N:sung to the dying in Eigg M:3/2 L:1/4 Q:1/2=100 K:Fphr FF|F3 E F2|A4 F2|E4 E2|F2 F3 F|\ F4 F2|AF3 E2|EE3 E2|F2 F2 FF|F3 E F2|A4 F2|E4 E2|F2 F2F2|\ F3 E F2|A2F2 E2|E4 E2|F2 F4 || FFF4 |A4 E2|\ FF2F3 |A4 E2|\ FFFF3 |A4 E2| E3 E E2|E3 E E2|D4 E2|F6 |\ F3 E F2|AF3 E2|E4 E2|F6 :| F3 F FF|A3 E E2|\ F3 F FF|A3E E2|\ F3 F FF|A3 E E2|| E3 E E2|E3 E E2|D4 E2|F6 |\ F3 E F2|A2F2 E2|E4 E2|F6 | F4 F2|A2F2 E2|D4 E2|F6 |\ F4 F2|AF3 E2|E4 E2|F6 || F3 F F2|A6 |E3E E2|F6 |\ F3 E F2|A6 |E3E E2|F6 |] This fairly modern Scottish tune uses the same scale as "How Many Miles to Babylon?" in its first half but adds an octave note above it in the second part. It has only five notes, but fits none of the usual pentatonic scale patterns: X:0 T:Dancing the Baby G:jig M:6/8 L:1/8 Q:3/8=120 K:AMix % both f and g are missing e|cee dee|cee dcB|cee dee|AAA cBA| cee dee|cee dcB|AAc BBc|AAA A2:| e|acc ecc|acc dcB|acc dcB|AAA cBA| acc ecc|acc dcB|AAc BBc|AAA A2:| There are traditional tunes that use the same scale, like this Hebridean tune that again uses the upper octave note only in the second part: X:0 T:The Water-Horse's Lullaby S:Karpeles, Folk Songs of Europe M:2/4 L:1/8 Q:1/4=100 K:D F/|A2 F>D|EE G> F| A2 F>D|EE D2 | D>D DD |E>E G2 |({F}A>)G FD |E>D D2 | d2 (FD)|EE G2 | d2 (FD)|EE D2 | DD DD |EE G2 | A>A FD |EE D3/|] This is the best-known tune using that scale, though it's plagal with the gaps in the bottom of the range: X:0 T:Ode to Joy C:Beethoven M:C L:1/4 Q:1/4=160 K:D f f g a |a g f e|d d e f |[1 f>e e2 :|\ |[2 e>d d2 || e e f d |e f/g/ f d|e f/g/ f e | d e A f-| f f g a |a g f e|d d e f | e>d d2 |] Many east European melodies are constructed by repeating a narrow-range tune transposed by a fifth to make a full-range one. This is a Hungarian example, shifting the same primitive arch phrase down from A minor to F to D dorian: X:0 T:Kibujt a haz az ablakon G:dance song M:2/4 L:1/4 Q:1/2=120 K:DDor A>B|cd|cB|AG |\ A>B|cd|cB|AG | F>G|AB|AG|AA |\ D>E|FG|FE|DD|] Kodaly thought the idea came from the Uralic peoples of northwestern Asia, like the Cheremis and Mari. I don't know a Scottish example of it. This tune is tetratonic, but with a range of an octave: X:0 T:Dairymaid's Croon S:Kennedy-Fraser, Songs of the Hebrides G:milking song from Barra M:3/4 L:1/4 Q:1/4=240 K:G Mixolydian B2 d-|d D G|B2 A|A2 G|A2 A-|A G A|B2 A|A G2 | B d D-|D B2-|B2 A|A2 G|A A A |A G A|B2 A|A2 G|| B d D-|D G2 |B2 A|A2 G|A2 A-|A G A|B2 A|A G2 | B2 d-|d D G|B2 A|A2 G|AA A |A G A|B2 A|A G2|| B2 d-|d D G|B2 A|A2 G|A2 A-|A G A|B2 A|A G2 | Bd D-|D B2-|B2 A|A2 G|A A A |A G A|B2 A|A2 G|] 14. Cheating === ======== Many Scottish tunes almost have gaps; that is, the relevant notes are in inconspicuous places in the tune. Often these tunes are the result of a historical process of gap-filling. Either going back to an older version of the tune, or else imagining a retrograde evolution to a gapped scale even if there never was one, may result in something becoming playable on a diatonic instrument that otherwise couldn't do it. In practice, Scottish players do this instinctively all the time. X:0 T:Johnnie Cope G:march S:Allan: 110 Songs of Scotland without Words M:4/4 L:1/8 Q:1/2=72 K:AMin EG|A2A2 A2Bd|e2A2 A2GE|\ G2G2 GABc|dedc B2AG| c2c2 d3d |e2g2 B2AG|\ E2g2 edcB|A4 A2 || AB|c2cc cGEG|cdef g2dc|\ B2AG d2G2|Bcde d2cB| cBcd edea|gedc B2AG|\ E2g2 edcB|A4 A2 |] Like almost all Scottish tunes in the minor mode, the sixth occurs rarely and only in the middle of a scale run. Suppose you haven't got an F natural on your instrument, but do have all the other notes (for example, a tin whistle in D or a G/D melodeon). Nobody's going to notice if you play this instead: X:0 T:Johnnie Cope (cheat's version) G:march M:C| L:1/8 Q:1/2=72 K:AMin EG|A2A2 A2Bd|e2A2 A2GE|\ G2G2 GABc|dedc B2AG| c2c2 d3d |e2g2 B2AG|\ E2g2 edcB|A4 A2 || AB|c2cc cGEG|c2e2 g2dc|\ B2AG d2G2|Bcde d2cB| cBcd edea|gedc B2AG|\ E2g2 edcB|A4 A2 |] Or if all you've got is a diatonic mouth organ in A, you can still play mixolydian tunes from the pipe repertoire. It's unusual for the high g's to really matter; lengthening the preceding note will generally cover their absence. This also works in the many tunes using the full major scale, but where the seventh only occurs in descending scale runs. Again, lengthening the previous note will shift the tune into the major/mixolydian hexatonic and make it playable on more instruments. X:0 T:The Stool of Repentance G:jig M:6/8 L:1/8 Q:3/8=120 K:G g2d B2d|gfe dcB|gee e2d|ege e2d | g2d B2d|gfe dcB|c2d e2d|egB A2G:| BGG dGG|BGG dcB|cAA eAA|cAA edc | BGG dGG|BGG dcB|c2d e2d|egB A2G:| X:0 T:The Stool of Repentance (cheat's version) G:jig M:6/8 L:1/8 Q:3/8=120 K:G % tweaked to remove the f's g2d B2d|g2e dcB|gee e2d|ege e2d | g2d B2d|g2e dcB|c2d e2d|egB A2G:| BGG dGG|BGG dcB|cAA eAA|cAA edc | BGG dGG|BGG dcB|c2d e2d|egB A2G:| This tune, from a flute collection, is a reel probably composed for the fiddle: X:0 T:Dalkeith Fair G:reel S:NLS Glen.127 M:C L:1/8 Q:1/2=108 K:G g2dB g2dB|A>GAB A/A/A A2|g2dB g2dB|A>GAB G/G/G G2:| GBdB gBdB|GBdB A/A/A A2|GBdB gBdB|A>GAB G/G/G G2:| g2bg afge|dBgB A/A/A A2|g2bg afge|dBcA G/G/G G2:| GBdB gbgd|GBdB A/A/A A2|GBdB gbgB|dBcA G/G/G G2:| The range is too wide for the pipes and the scale doesn't fit either. It takes more than that to stop a determined piper from playing a tune; here it is in a pipe arrangement with the offending high B dropped a fourth and the C simply left out, even though that changes the implicit harmony: X:0 T:Dalkeith Fair G:reel S:Glen's Collection for the Great Highland Bagpipe part 3rd (Eighth Thousand) N:J. & R. Glen 497 Lawnmarket price 1/6 N:see my Dalkeith site, N:for the full setting with the gracenotes M:C| L:1/8 Q:1/2=96 K:AMix B|GBdB gBdB|GBg>B AAB GGf| g2dB g2dB|AGAB AAB GGB AAB GGB AAB GGF E2E2|FE2E C4|| CE2F G3G |BGc2 BG3 |CE2F G3E |FG2E C4 | CE2F G3G |BGc2 BG3 |CE2F G2D2|C4 C4|] Mixolydian/dorian hexatonic in Hungary: X:0 T:Jaj de sokat arattam G:song B:Kodaly, Folk Music of Hungary S:collected by Bartok in 1906 in Horgos (Csongrad County) M:4/4 L:1/8 Q:1/4=76 K:GDor % mixolydian/dorian hexatonic eefg ecd2|cG3 G2z2 |\ ggec aag2|gd3 d2z2 | ggec aag2|dfec d4 |\ eefg ecd2|cG3 G2z2|] Mixolydian/dorian/minor pentatonic in Cambodia: X:0 T:Prom Kut G:song B:Charles Haywood, Folk Songs of the World M:C L:1/8 Q:1/4=108 K:GMix (D>F)|G2 G2 A>G (F>G)|A2 A2 D2 G2 | F2 F2 (D2 A2)|G2 G>G G>F D2 | F2 F2 F>G F2 |D2 D2 D2 (F>G)|(F>G) A2 d2 c2 |A2 G2 G>G G2|] from Transylvania around 1910: X:0 T:no title (number 96) G:dance song S:Bartok & Kodaly, Transylvanian Hungarian Folksongs N:used by Dohnanyi in his suite "Ruralia Hungarica" M:4/4 L:1/4 Q:1/2=120 K:GDor % dorian/minor/phrygian pentatonic g>gfg|fdcd|g>fdc|cdBB | g>fdc|dcBd|d>dcd|GGGG|] and from early twentieth-century America (but the chorus changes mode): X:0 T:900 Miles G:song B:Reprints from "Sing Out" v4 (1962) N:a bit different from the version I know orally, but in the same mode M:C L:1/8 Q:1/4=80 K:GDor % dorian/minor/phrygian pentatonic DF|AA GF A2 DF|A2 (3AGF D4 |d>d dc AG Ac |d6 Ac| d2 dc A2 GF|A2 (3AGF D2 DF|A2 GF G2 (3AGF|D6 || |:DD|E>E E^C A,A, =B,C|D6:| Dorian in a tune known all over the British Isles, but probably English: X:0 T:What shall we do with the drunken sailor G:dance song M:4/4 L:1/8 Q:1/2=116 K:EDor B2BB B2BB|B2E2 G2B2|A2AA A2AA|A2D2 F2A2| B2BB B2BB|B2c2 d2e2|d2B2 A2F2|E4 E4 |] and in Turkey: X:0 T:Kar mi yagdi Kutahya'nin dagina? T:Did it snow on the mountain of Kutahya? S:Hamdi Tanses, Zeybekler ve Ege-Akdeniz Turkuleri G:song with saz accompaniment M:9/8 L:1/16 Q:3/8=60 K:ADor g2gf e2d2 dccB AGA2A2| g2gf e2d2 dccB AGA2A2| dccB A2Bd dccB AGA2A2| M:7/8 c3B BAA2 AccBBA| M:9/8 G2BA cc/d/cB BAA2 A4 z2 | g2g2 f2a2 g2f/e/f/g/ e4 ed | |:d4 dgfg a2g/a/g/a/ fg e2(3dcd| edcd d/c/B/c/dB AA3 AcBABA | d2c/B/c B2A2 A8 z2:| Major/mixolydian hexatonic in China: X:0 T:The East Is Red T:Northern Shensi Folk Song G:song S:Revolutionary Songs of China M:2/4 L:1/8 Q:1/4=100 K:C % major/mixolydian hexatonic c2 cd|G4 |F2 FD|G4 | c2 cc|df dc|f2 FD|G4 | c2 G2|FF ED|C2 c2|G2 AG| F2 FD|GA GF|GF ED|C4- |C2|] A Western-style minor-key tune from a non-Western culture (this is the best-known Turkish tune in English-speaking countries as a result of Eartha Kitt having a hit with it in the late 1950s). X:0 T:Katip G:song O:18th century Istanbul M:C| L:1/8 Q:1/2=96 K:EMin E3B B2B2|cBcd B2B2|A2AA G2A2 |B6 z2 | E3B B2B2|cBcd B2B2|A2AA G2A2 |B6 z2 | E3F G2A2|BcBA GFE2|FAGF GFED |F6 z2 | E3F G2A2|BcBA GFE2|FAGF GFE^D|E6 z2|] Lydian/major/mixolydian pentatonic in 18th century England... since this tune was originally an English one, "Lost is my quiet for ever": X:0 T:Ye Banks and Braes of Bonnie Doon G:song S:G.F. Graham, Popular Songs and Melodies of Scotland N:this book also gives the story of how Burns got it M:6/8 L:1/8 Q:1/8=100 K:G % lydian/major/mixolydian pentatonic D|G2G A>GA|BdB AGA |B>AG GGA|BdB AGA |B>AG GdB {B}A2B/A/| G2G A>GA|BdB A>GA|B>AG GB Bc/c/|G/G/ F/F/ E2 | GG G E|F E/E/ CB,|E>E Ec/c/|B/B/ G/F/ E2|] and in Aboriginal Australia: X:0 T:Honey-Ant Song of Ljaba O:Central Australia G:song B:Charles Haywood, Folk Songs of the World M:6/8 L:1/8 Q:3/8=108 K:C % lydian/major/mixolydian pentatonic e|(2(ed) (dc)c|c2c c3| c2 c c2:| e|(2(ed) (dc)c|c2c c3| c2 c c2c| (2(AG) (GE)E|E2E E3|(ED)D C2E| E3 E2 E|E2E E3|(ED)C C2C| C3 C2 C|C2C C3| C2 C C2E| E3 E2 E|E2E E3|(ED)C C2C| C3 C2 C|C2C C3| C2 C C3|] The idea of modes as derived by taking different tonal centres for the same pitch set can be applied to entirely different scales. When the notes of the hijaz scale on D are given the tonal centre G, you get another common mode of Middle Eastern music, called "nihavent" in Turkish or "nahawand" in Arabic. It's the mode used for most of this song, possibly from mediaeval Muslim Spain. (It goes into B flat major for a a few bars in the second part). X:0 T:Lamma Bada Yatathanna M:10/8 L:1/16 Q:1/4=60 K:GMin % actually Nahawand D2| G4 AB cBBA AGG^F G4 \ D2| G4 AB cBBA AGG^F G4 AB| c4 d2 B3A AGG^F G4 \ A2|^F4 G2 E3D EDEF D4 ed| c4 d2 B3A AGG^F G4:|\ D2| G4 AB cBBA AGG^F G4 D2| G4 AB cBBA AGG^F G4 \ B2| B4 B2 B4 cBAc B4 Bc| d4 c2 dccB BAGB A4 \ =F2| G4 A2 B4 cBAc B4 AB| c4 d2 B3A AGG^F G4 \ A2|^F4 G2 E3D EDEF D4 ed| c4 d2 B3A AGG^F G4 \ AB| c4 d2 B3A AGG^F G4|] Indian music can derive many modes from a single scale in the same way as Scottish music does; Middle Eastern music rarely goes beyond two. There have been a few attempts to write tunes in Scottish idioms that evoke other styles. Here's a bagpipe tune intended to sound Chinese. It works since the pentatonic scale used is one also found in Chinese music. X:0 T:The Chow Man S:Scots Guards Standard Settings of Pipe Tunes book 2 C:Pipe Sergeant E. MacDonald H:Composed at Lo Wu Camp, South China during the tour H:of duty of 2nd Battalion Scots Guards 1927-29 M:2/4 L:1/16 Q:1/4=88 K:D % lydian/major/mixolydian pentatonic e2|A2Bf a3f |e2`d2 e2f2| A2Bd B2A>B|d4 d2 :| e2|f2a2 f2edBd B2A>B|d4 d2 :| [2 A2f2|\ A2Bd B2A>B|d4 d2 |] And Ewan McColl thought this tune sounded Japanese: X:0 T:Schooldays End C:Ewan McColl M:4/4 L:1/8 K:AMix A,2B,2|D4 D3 E |F2 (FE) F4 |z8 | E2 EF ED B,2|D2 D2 (B,A,3)|z8 | D2 DE F2 A2 |B2 d2 (cB) A2|B2 BA F2 A2 |B8 | A2 AB A2 FE |F2 A2 (FE) D2|E2 EF (ED)B,2|A,8|] It's a successful tune for his song, but he got the nationality wrong - again it's using a scale common to Scottish and Chinese music. Japanese folk music does sometimes use Chinese scales, but has two hexatonic scales of its own. Both of them combine two rising and falling pentatonic scales which differ near the top. Neither of the pentatonic scales making up the in-sen scale corresponds to anything found in Scottish music, or any European music. The major third between the second and the fourth is the most distinctive feature an outsider notices in Japanese music. X:0 T:The yo-sen (male) Japanese scale M:8/4 L:1/4 K:AMin % rising mixolydian/dorian/minor pentatonic % falling major/mixolydian/dorian pentatonic A,2 B, D E G A2 | A2 ^F E D B, A,2 |] X:0 T:The in-sen (female) Japanese scale M:8/4 L:1/4 K:AMin A,2 _B, D E G A2 | A2 F E D _B, A,2 |] In-sen is the mode used in the most famous of all Japanese tunes (though it omits the rising seventh): X:0 T:Sakura O:Gerald Walker O:loulou2032 @ yahoo.com.sg M:C L:1/4 Q:1/4=72 K:APhr d d e2 |d d e2 | d e f e|d e/d/ B2 | A F A B|A A/F/ E2 | d e f e|d e/d/ B2 | A F A B|A A/F/ E2 | d d e2 |d d e2 | A B e/d/ B|A2 z2|] And it's the predominant mode in this much more complicated song, where one bar sharpens the second and uses the minor third as a passing note. The tune strongly emphasizes both the lower major third gap and the falling major third gap below the tonic. X:0 T:Fine Fishing Song from Haragama S:Patia Isaku, "Mountain Storm, Pine Breeze: Folk Song in Japan" N:the short lines are a shouted chorus M:2/4 L:1/16 K:F#Phr F4 G2B2|(c4 (3ded(3::2c2d|f4) d2f/d/c/d/|c4 B4|G2B/G/F/G/ F4| B4 B2 c/B/c|d4 (3cdcB2|F4 F2{GF}G>F|D2 d2 d B d B| D4 F2GF|({G}B4 c2{dc}Bd)|(c4{dc} B2{cB}G2{FG}|B2cB) (G2{BG}FG)|F8-|F4 D2F2|(^G8{AGFG})|(F3=G B2) B/c/B|(F4 {GF} D2{FD}C2{B,C})|B,2 d2 d B d B| (B,4 C2) DC|(D2<>B2 d4)| (c3d/c/ (3BcB (3GFG|B2{c}B2) G2{FG}FG|F8-F8|] 17. Tonally Un-Scottish Scottish Music === ================================== The 18th century saw the introduction of new harmonic and melodic forms from Italy, France, Germany and England. Sometimes these were adopted wholesale, but there were some unusual fusions of the European style with the native one, like this reel by the leading Scottish art-music composer of the mid-18th century, the Earl of Kelly: X:0 T:Lord Kelly's Reel G:reel N:transposed back from flute version in Aird v1 M:C L:1/8 Q:1/2=92 K:GMin F|DGBG dGBG|F>GAf FG (B/A/G/F/)|DGGB AcBd|cf (d/c/B/A/) BG G:| g|bgdg Gggb|afcf Ff fg/a/ |bgdg fdcB|Af d/c/B/A/ BG Gg| bgdg GBgb|afcf Fc fa |bgaf gdcB|Af d/c/B/A/ BG G|] While that tune uses an Italian harmonic progression inspired by Corelli, it still leaves out the sixth to fit the dorian/minor hexatonic scale. Many fiddle tunes of this period have a similar structure, and for some reason I don't understand nearly all of them are in G minor or were first published in that key. The innovations of the nineteenth century that now feature in every Scottish dance band's repertoire - like "Gaelic waltzes" and polkas - were harder to assimilate. Some are older traditional tunes given new rhythms: others are impossible to adapt to scales with gaps or non-diatonic modes, like these tunes with sections in different keys and key changes within sections as well: X:0 T:Bluebell Polka G:polka S:Kerr's Merry Melodies v1 (1875) C:F. Stanley N:Everybody thinks Jimmy Shand wrote this. N:He didn't start *that* long ago. M:2/4 L:1/16 Q:1/4=100 K:G (3Bdg|b2b2 g>fg>e|d2d2B2 zG|F2A2 c2e2|ed^cd B2 (3Bdg| b2b2 g>fg>e|d2d2B2 zG|FGAB cdef|g2g2 g2 :| K:D z2 |A2A2 FAdf |a2a2f4 |a2^g2 =g3e |b2 (3aba ^g2a2 | A2A2 FAdf |a2a2f4 |a2^g2 =g3e |d2d2 d2 :| K:G (3Bdg|b2b2 g>fg>e|d2d2B2 zG|F2A2 c2e2|ed^cd B2 (3Bdg| b2b2 g>fg>e|d2d2B2 zG|FGAB cdef|g2g2 g2 :| K:C z2 |e2e2 efg2 |e2e2 efg2|f2f2 fdB2|fefg fdB2 | e2e2 efg2 |e2e2 efg2|f2f2 fdBd|c2c2 c2 :| K:G (3Bdg|b2b2 g>fg>e|d2d2B2 zG|F2A2 c2e2|ed^cd B2 (3Bdg| b2b2 g>fg>e|d2d2B2 zG|FGAB cdef|g2g2 g2 :| X:0 T:The Oslo Waltz G:accordion waltz C:Felix Burns? S:Jim Paterson (with one minor change) N:its full weirdness is only apparent when you see the chords M:3/4 L:1/8 Q:3/4=56 K:A % -- A part e2|fe ce Ac|E2 A2 c2|F6|E4 A2|G3 =G ^G2|e4 d2| c2 c=c ^cd|c4 e2| fe ce Ac|E2 A2 c2|F6|E4 A2|G3 =G ^G2|e4 G2|(3ABA GA ce|a2 z2 :| % -- B part c/d^d/|:e6|a6|a2 g2 f2|c6|e3 f e2|d2 c2 B2| A2 AG AB|c6 | e6|a6|a2 g2 f2|c6|e3 f e2|d2 c2 B2|(3ABA GA ce|[1 a2 z2 e2:|\ [2 a2 z2 || % -- A part |:e2|fe ce Ac|E2 A2 c2|F6|E4 A2|G3 =G ^G2|e4 d2| c2 c=c ^cd|c4 e2| fe ce Ac|E2 A2 c2|F6|E4 A2|G3 =G ^G2|e4 G2|(3ABA GA ce|a2 z2 :| % -- C part K:D d/^d/e/^e/|:f6-|f6 |d6- |d6 |F2 A2 d2|f2 a2 ^a2| b6-|b6 | g6 |e4 d2|c6 |c4 B2|A6 |A2 ^G2 =G2| F6 |AB cd e=f | f6-|f6 |d6- |d6 |F2 A2 d2|f2 a2 ^a2| b6-|b6 | d'6|c'4 b2|a4 f2|d2 c2 B2|A6 |e6 |[1 d6 |AB cd e=f:|\ [2 d6-|d2 z2 || % -- A part K:A |:e2|fe ce Ac|E2 A2 c2|F6|E4 A2|G3 =G ^G2|e4 d2| c2 c=c ^cd|c4 e2| fe ce Ac|E2 A2 c2|F6|E4 A2|G3 =G ^G2|e4 G2|(3ABA GA ce|a2 z2 :| 18. Cautionary Notes === ================ All the above is somewhat oversimplified: in fact the pitches of Scottish traditional music are rarely taken from the twelve-note equally-tempered scale (except for instruments like the accordion that offer no choice in the matter). The precise tuning of notes in the scale may be modified to get purer harmonies or (particularly with Cape Breton fiddling) to imitate the sound of the bagpipe scale on other instruments. When this happens, relative modes need not have exactly the same pitch set; a fiddler may bend the notes of an A mixolydian tune to bring it closer to the bagpipe pitch set, while playing a D major tune in something close to the equally tempered pitch set. ABC does not yet handle microtonality: when it does I'll return to this issue. The other oversimplification I've made is in reducing modes to bare sequences of notes. In Middle Eastern and Indian music theory, the notion of a mode (raga, makam, dastgah) includes a set of melodic formulas used with it - short fragments that are used to put melodies together, particularly at cadences. This happens to some extent in Scottish traditional music; think of all the hornpipes in G major that end with BGG or GBG. In modern music theory the "sequence of pitches" idea of mode I've used here is more often called "octave species", and "mode" now tends to be used in the West Asian manner, as this is also helpful in analyzing mediaeval and Renaissance art music. I hope to come back to this some time and write a comparable document on the melodic formulas of Scottish music. 19. References === ========== A good reference to music theory as applied to jazz, which includes a fair bit of material on modes, is Marc Sabatella's on-line textbook at . Peter Wilton has a page with a tutorial on the modes of Gregorian chant; a much more comprehensive site is , which even streams a "Gregorian Chant of the Week". A compendious encyclopaedia of folk music (albeit with an American slant) is on Bill Markwick's "Folk File" at with links to information about intonation and temperament. Some of the ideas in the latest versions of this come from the New Grove Encyclopaedia, and in particular is article "Mode". B.H. Bronson, "The Traditional Tunes of the Child Ballads", is a massive four-volume collection which uses a scheme similar to mine. Phil Taylor uses both the Bronson scheme and something like mine in the tutorial material for BarFly, . There are many good collections of Scottish tunes, but there are so many good Scottish tunes to collect that no one book can possibly do it all. The best value for money, and the first one any instrumentalist should get, is Kerr's "Merry Melodies", a four-volume set with hundreds of tunes in each volume. This has been continuously in print for over a century. Less densely printed (and hence more readable) collections of about the same period are the "Skye Collection" and the recently reprinted "Athole Collection" and "Glen Collection", both aimed at fiddlers. There are many competing collections of bagpipe music, all very expensive, with a lot of overlap in their traditional material; the Scots Guards book is the most comprehensive. Players of other instruments mostly have to make do with books aimed at either fiddlers or pipers; my own CD-ROM is the first big collection for the flute in over a century, and no large anthology of Scottish music has ever been compiled for any other instrument, though there are many smaller collections for piano. For songs, there has only ever been one try at a comprehensive collection, the "Scots Musical Museum" of Johnson and Burns, and that was more than 200 years ago. It has been reprinted, and it says something about song scholarship in Scotland that it doesn't really have any competition. For the bare tunes, Nathaniel Gow's "Vocal Melodies of Scotland" is comparable, but has never been reprinted since the early 19th century. G.F. Graham's "The Popular Songs and Melodies of Scotland" has good historical notes but is not on the same scale. A very much bigger effort is the Greig-Duncan Folksong Collection, in eight volumes from the School of Scottish Studies and Aberdeen University Press; however, this is basically one man's work, what he could collect from the north-east of Scotland at the turn of the century, and there are many songs familiar all over Scotland that he didn't get round to. Campbell & Collinson's "Hebridean Folksongs" is the largest collection of Gaelic songs edited to a reasonable standard, but it leaves out many of the most popular ones. The best recent collection is Anne Lorne Gillies's "Songs of Gaelic Scotland", which also has a very good commentary. Most cheaper practical editions of Gaelic songs are in sol-fa notation and are hard to come by outside Scotland. ============================================================================= == (c) Jack Campin http://www.campin.me.uk/ January 2009 == == 11 Third Street, Newtongrange, Midlothian EH22 4PU, Scotland == == == == this document: http://tinyurl.com/folkmodes == =============================================================================