=============================================================================
=               Scales and Modes in Scottish Traditional Music              =
=                                  Jack Campin                              =
=============================================================================

Hexatonic Modes
===============

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", and the Indonesian seven-note "pelog" scale is usually
reduced to scales ("pathets") that leave gaps.
 
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. 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:Tramps and Hawkers
M:3/4
L:1/4
Q:3/4=80
K:C
% major/mixolydian hexatonic
C   |E2 E|D2  C|D2 E|C2 A,|G,2 A,|C2  D|C3- |C2
E   |G2 G|E F G|A2 A|G2 E |C2  D |E D C|A,3-|A,2
E   |G2 G|E F G|A2 A|G2 E |C2  D |E D C|A,3-|A,2
C/D/|E2 E|D2  C|D2 E|C2 A,|G,2 A,|C2  D|C3- |C2|]

X:0
T:Lord Ronald, My Son
S:Burns, SMM, collected in Ayrshire
B:G.F. Graham, Popular Songs and Melodies of Scotland
G:ballad tune
M:3/4
L:1/8
Q:1/4=72
K:F
% major/mixolydian hexatonic
FG |A2 A2 Ac|A2 G2 Ac|d2 d2 cA |G4
Ac |d3  c AF|CD F2 FG|A2 BA G>F|F4
F>G|A2 A2 Ac|A2 G2 Ac|d2 c2 cA |G4
Ac |d3  c AF|CD F2 FG|A2 BA G>F|F4|]

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
% 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 A<AA>F|A>Bd>A F2E>D|E2 E>G B<BB>A|d>fe>d B2B<d|
D2 D>F A<AA>F|A>Bd>A F2E>D|G>BG<B F>AF<A|E>FG>A B2A2:|
d>ef>e d<dd>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>BG<B F>AF<A|E>FG>A B2A2:|

X:0
T:Kate Dalrymple
M:C|
L:1/8
Q:1/2=104
K:D
% D major/mixolydian hexatonic
D2DF E2EF|D2DF E2EF|D2d2 BAGF|E2A2 F2D2:|
A3B  AGFG|A2d2 A2F2|A2d2 A2d2|A2d2 A2F2 |
G2GB F2FA|E2EG AGFE|D2d2 BAGF|EFGA F2D2|]

X:0
T:Bratach Bana
G:reel
M:2/4
L:1/8
Q:1/4=108
K:D
% D major/mixolydian hexatonic
Ad  da|f>e f/e/d|Ad  da   |   f>e f/e/d|
g2  ab|a>g fg   |aa  ef/e/|   dA  BA  :|
f>e fA|BA  d>B  |AA  BA   |   fe  eA   |
f>e fA|BA  d>e  |f<a ef/e/|[1 dA  BA  :|\
                           [2 d4      |]

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
Q:3/8=120
K:D
% major/mixolydian hexatonic
B   |AFA Aaf|ede fdB|AFA AdF|EFE E2
A   |AFA Aaf|ede fdB|AFA faf|ddd d2:|
f/g/|afa afa|bgb bgb|afa agf|efe e2
f/g/|a3  f3 |ede fdB|AFA faf|ded d2:|

X:0
T:Lady Bothwell's Lament
S:Graham, Songs of Scotland
G:song from the early 18th century
M:3/4
L:1/16
Q:1/4=80
K:F
c2     A2`(GF)| F6         A2  G2`(FD)|C6 \
d2     c2`(BA)|(B2A2) (G2``F2) G2`(Ac)|d6
c2 ({B}A2)(GF)| F6        (GA) D3```F |C6 \
d2 ({d}c2)(BA)|(B2A2) (G2``F2) A3```c |d6||
c2    (cB)(AB)| c6         d2 (cB)(AB)|c6 \
c2     d2``f2 | f6         f2  d3```c |c6
f2    (cA)(GF)| D6         F2 (CD)(FA)|d6 \
c2    (cA)(GF)| F3`G  (AG)(Ac) G3```F |F6|]

Here is an example from 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|]

and a Hungarian one:

X:0
T:Este van mar, csillag van az egen
M:7/4
L:1/8
Q:1/4=110
K:EMix
EE A2 c2 BGAF E2 Ez |\
BB e2 c2 ABcA B2 Bz |
BB e2 c2 ABcA B2 Az |\
EE A2 c2 BGAF E2 Ez|]

One of the best-known tunes from anywhere in this mode is the English
nursery rhyme "This Old Man", also known as Barney the Purple Dinosaur's
song "I Love You" from US children's TV (and used on prisoners by
American torturers in Iraq and Afghanistan):

X:0
T:This Old Man
T:I Love You
M:4/4
L:1/4
Q:1/4=120
K:C
     G E G    z|G   E    G z|A G F E|D E F
E/F/|G C C/C/ C|C/D/E/F/ G z|G D D F|E D C2|]

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  B<Gg2 |f>AA2  B<dd>d|
  f>AA2  B<Gg2 |f<ae>d B<dd :|
e|f2 f>d f2 f<a|f2 f>d e2 f<a|
  f2 f>d e>dg>e|a>fe>d B<dd :|

X:0
T:The 79ths Farewell to Gibraltar
C:John Macdonald
G:pipe march
M:2/4
L:1/16
Q:1/4=80
K:A
% major/mixolydian hexatonic, A-final in the G-gap hexatonic pitch set
c>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|f<ae>c B2a2 |f2e>c  e>fa>e|f2B2 B2a2 |
    f2e>c e>fa>e|f<ae>c 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 c2B<A |B<AB>c e2a2 |f2e>c  e>fa>e|c2A2 A2  :|


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:Ye Jacobites By Name
G:song in slow march tempo
M:4/4
L:1/8
Q:1/4=100
K:AMin
% dorian/minor hexatonic
E|A>B AG E2 EE|c2  BA B3
E|A>B AG ED EG|A4     z3
c|c>B cd e3  e|d>c Bc d3
d|eA  AG E2 EE|c2  BA B3
d|e>A AG ED EG|A4     z3|]

X:0
T:My Bonny Moorhen
S:Sheila Douglas, The Sang's the Thing
G:song, free rhythm
M:6/8
L:1/8
Q:3/8=60
K:EMin
% dorian/minor hexatonic
E|E<AA B2A |G<EE E2z|G<AG BAB |G<DD D2
D|GFG  A>GA|BAd  e2d|B>AG A>Bd|F<EE E2||
E|e<ee g2g |f<dd d2d|ded  fef |d<AB A2
z|BAB  B>AG|A<Bd e2d|B<AG A<Bd|F<EE E2|]

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/ d<g   e/d/c/B/|\
A>B 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
% dorian/minor hexatonic
D A G   |F> G A|F E D   |C> D E|D A G|F> G A|A    f e   |d3||
A d d/c/|A d  c|F c A/G/|F> G A|A A G|F> G A|G/F/ D C/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|d<cB>A G2G2|A2 A>B A>Bc>d|e>cde   g2g2 |
a>ge>c d<eg<a|e<gg>B G2GB|A<EA>B c>de>g|e<dc>B  A2Ac||
A<EA>c A<EA>c|B>cdB  G2GB|A<EA>c A<Ec>d|e>cde   g2g2 |
a>ge<c dega  |e<gg>B G2GB|A<EA>B c>de<g|e<dc>B  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|]

...like this one...

X:0
T:Admiral On The Bow
C:Sandy Brechin, Edinburgh, 1990s 
L:1/4
M:4/4
Q:1/4=84
K:EMin
% dorian/minor hexatonic
   E B A> B|B E E>  F |G G    F D|B,4|
   E B A> B|B E E>  F |G G    F D|E4:|
   B d d> e|d A A G/A/|B A/G/ F D|B,4|
[1 B d d> e|d A A G/A/|B A/G/ F D|E4:|
[2 E B A> B|B E E>  F |G G    F D|E4|]

...which happens to be remarkably similar to a mediaeval Norwegian ballad:

X:0
T:Rolandskvadet
Z:Transcribed by Frank Nordberg - http://www.musicaviva.com
M:C
L:1/4
Q:1/4=120
K:EMin % Transposed from DMin
% dorian/minor hexatonic
B B/B/ B B|A G E E/D/|E E/E/ G A |B2 BB |
B B    G A|A E E E   |G G/G/ F D |E2 E2||
G G/G/ B B|A G G E   |E E    G A |B2 B2 |
B B    G A|A E E E   |G2    (F D)|E2 E2|]

Here is an example from 16th century France:

X:0
T:Galliard "Because of the Traitor I Die"
S:Arbeau, Orchesography, 1589
M:6/2
L:1/2
Q:3/2=60
K:GMin
% dorian/minor hexatonic
ddc B2A|AGG F2D|ddc B2A|GGF G3:|
AAA c2c|ccc d2d|ddc B2A|GGF G3:|

A Breton lullaby:

X:0
T:Toutouig
M:6/8
L:1/8
Q:3/8=60
K:AMin
% dorian/minor hexatonic
z|c2c B2B|A2A E2E|c2c BAG|A3- A2
A|ece dBd|cAc B2A|ece dBd|cAc B2
z|c2c B2B|A2A E2E|c2c BAG|A3- A2|]

A Finnish tune probably based on an 18th century Russian song:

X:0
T:Ievan Polkka
M:2/4
L:1/16
Q:1/4=120
K:AMin
% dorian/minor hexatonic
A|E2A2 A3B |cAAA  A2cc|B2G2 G2BB|c2A2  A3
E|E2A2 A3B |cAAA  A2cc|e2d2 c2B2|cA2A- A3
c|e2e2 d2c2|B2G2  G2B2|d2d2 c2B2|B2G2  G3
B|e2ee d2c2|BG2G- G3B |d2d2 c2B2|cA2A- A3||

This is an example of it being used to imitate a folk idiom from
outside Scotland (but Gershwin's accompaniment tends to fill in
the gap, making the music sound Dorian more often than minor):

X:0
T:Summertime
C:George Gershwin
M:C|
L:1/8
Q:1/2=72
K:AMin
% dorian/minor hexatonic
  e2  c2 |e8-          |ez  d>c d>e c2|A4   E4-|E2 z2
  e2  c2 |d d3-   d4   |z2  c>A c>A c2|B8-     |B4
  z e2  c|e e2 e- e4   |z2  d>c d>e c2|A4   E4-|E4
  z2  E2 |G2 EG   A2 c2|e d3    c4    |cA3- A4-|A8-  |A2 z2 z4|z4||
(3e2e2c2 |e2 e6        |z>e d>c d>e c2|A4   E4-|E3  z
  e2  c2 |d d2 d- d4   |z2  c>A c>A c2|B8-     |B4
  z e e c|e e3-   e4   |z2  d>c d>e c2|A4   E4-|E4
  z2  E2 |G2 EG   A2 c2|e d3    c4    |cA3- A4-|A8-  |A8-     |A8-|A6 z2|z8|z8|]

And here is a Chinese example:

X:0
T:Dance of the Yao People
C:Liu Tieshan and Mao Yuan, 1952 
M:2/4
L:1/8
P:AABABCCAD
K:GMin
P:A
Q:1/4=76
Gd      dG         |(c3     B)|Ac      BA         |(G>F D2)|\
G>A     Bc         | df   (dc)|B(c/d/) cB         | G4    ||
P:B
Q:1/4=76
FF/G/   BG         | BB/c/ df |d(d/f/) c(d/f/)    | d4     |\
Gd      Gd         | Gc    Gc |B(c/d/) cB         | G4    ||
P:C
Q:1/4=120
Gd     (c/d/)(c/B/)| GB    G2 |Gd     (c/d/)(c/B/)| GB  G2 |\
G(G/B/) c(c/B/)    | cf    d2 |c(d/c/) B(c/B/)    | G2  G2||
P:D
Q:1/4=68
B2     (cd)        | c2    B2 |G4-                | G4    |]

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 E<ed  |B>AB E2 G   |F>ED D<dB|AFA  D2
d/e/|f>ed B2e/d/|B>AF d2 d/c/|B>AF E>FA|B>AB E2||
B   |B<GB BGB   |B>AB E2 F/G/|AFA  AFA |A>FA D2
d/e/|f>ed B<ed  |B>AF 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|]

The dorian/minor hexatonic is one of the commonest scales in Europe.
Here's an example from the Middle Ages:

X:0
T:Astra tenenti
S:The Play of Daniel, 13th century
M:6/4
L:1/4
Q:3/4=80
K:DDor
% dorian/minor hexatonic
DAA G2G|FAc G2G|EGF E2D|DCD G2F|EDF D2D|]

and from southern England in 1906:

X:0
T:O Shepherd, O Shepherd, Will You Come Home
G:song
S:Vaughan Williams and Lloyd, Penguin Book of English Folk Songs
M:6/8
L:1/8
Q:3/8=100
K:GDor
% dorian/minor hexatonic
B|BBB Bcd|c2B A2||\
c|B2G GAG|F2D D2||
B|BBB BAB|c2c d2||\
c|BAG AGF|G3  G2|]

from 19th century America (this tune must be derived from the Scottish
song "John Anderson my Jo", though I don't know how it happened):

X:0
T:When Johnny Comes Marching Home
G:marching song
M:6/8
L:1/8
Q:3/8=112
K:EMin
% dorian/minor hexatonic
e|Bee e2f|g2f g2e|d3- d2B|d3- d2
e|Bee e2f|g2f g2a|b3- b2a|b3- b2
a|b2b bag|a2a a2f|g2g gfe|f2f fga|
  b2b a2a|g2g f3 |Bee e2d|e3  e2|]

in Black America:

X:0
T:Nobody Knows the Trouble I see, Lord!
S:The Story of the Jubilee Singers (1899)
N:not the well-known tune for this
M:2/4
L:1/16
K:CMin
c2c2 e2e2|c3B  G4  |B2B2  d2d2|c3B   G4 |
c2c2 e2e2|c3B  G2E2|G2G>F E2E2|FE2E  C4||
CE2F G3G |BGc2 BG3 |CE2F  G3E |FG2E  C4 |
CE2F G3G |BGc2 BG3 |CE2F  G2D2|C4    C4|]

in 1970s British rock:

X:0
T:Stairway to Heaven
C:Jimmy Page and Robert Plant
M:4/4
L:1/8
Q:1/4=90
K:AMin
AB|c2 BA/B/-B2-(3BAB|cd2c BAcd|e2dc BA-A>G|[1 GA3 z2:|
                                           [2 GA3-A4||
z2 ced4|d2-d/c/B cAAB|cded dcBG|GA3 z2
AB|c2 BA/B/ A2-(3AAB|c2 dc B<A cd|(3e2d2c2 BA2G|GA3z2

and from Turkey, a lament for the young men of a village killed on the
Yemen front in WW1.  This is classified in the "huseyni" (dorian) mode
in Turkish books, since they don't usually acknowledge gapped scales.

X:0
T:Havada Bulut Yok
T:There is No Cloud in the Sky
T:Yemen Song
S:composite of several sources
M:10/8
L:1/8
Q:5/8=36
K:DDor
  FG2 A2 A3 |A2 A3  AG GAG|G2 ccG G2 AFA|G2
  FG2 A2 A3 |A2 A3  AG GAG|G2 ccG G2 AFA|G2
  FG2 A2 A3 |A2 A3  AG GAG|G2 ccG G2 AFA|G2||
|:AAG GF A2G|G2 GGF FE G2E|F2
  FFE ED F2E|E2 FED D2 E2D|DD D3  DC D3-|D2:|

This mode was used for one of the most important examples in Western music
theory.  The "do-re-mi" note naming scheme was originally "ut-re-mi",
derived by Guido d'Arezzo from the first word in each of the six verse
lines in the hymn to St John the Baptist, "Ut queant laxis", which Guido
may have written himself.  Guido had no name for the B (later "si" or 
"ti") and it doesn't occur in the tune; early music theory used hexachords
rather than full-octave scales.

X:0
T:Ut queant laxis
C:Guido d'Arezzo
M:none
L:1/1
Q:1/1=108
K:DDor % Fa3
 C D  F (D  E) D2   |\
 D D  C  D  E  E2   |
(E G) E (D  E) C  D2|\
 F G  A (G  F) D  D2|
(G A  G) E  F  G  D2|\
 A G  A  F (G  A) A2|
(G F) D  C  E  D2  |]


4. The Mixolydian/Dorian Hexatonic Mode
== ====================================

The MIXOLYDIAN/DORIAN HEXATONIC mode has the third omitted, giving an
interval sequence TmT TST.  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:Sir Colin
S:Kinsley, The Oxford Book of Ballads
G:ballad air
M:C
L:1/8
Q:1/4=90
K:DDor
% mixolydian/dorian hexatonic
B|c2  cc d2 d2|c2 e2  d4 |
  c2  c2 d2 d2|c2 e2  d3
c|A3   A G2 G2|A3  B Hc3
d|A2  A2 G2 cE|E3  E  D3|]

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 Amang the Heather
G:song
S:MacColl and Seeger, Till Doomsday in the Afternoon
S:and what I remember of how Ted Polytello sang it
M:none
L:1/8
Q:1/4=88
K:DDor
cB|A2 A2 D2 (AG)|  E D3   C4   z2
cB|A2 A2 D2  D2 |(3c2c2A2 c d3-d2 z2
cB|A2 A2 D2 (AG)|  E D3   C4   z2
c2|d3  c A G2 c |  C3 D   E D3-D2 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|e<gG BAG |
   Aee e3 |Aee dBa|gfe deg|edB  A2 :|
 B|Aaa a3 |Aaa gea|gfe def|gGd  BAG |
[1 Aaa a3 |Aaa gea|gfe deg|edB  A2 :|
[2 e3  A2e|dBd e2a|gfe deg|edB  A2 ||
 B|A3  e3 |A2e dBg|B3  G3 |e<gG B>AG|
   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 |]

An example from 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|]

one from Ireland:

X:0
T:My Love's an Arbutus
T:The Coola Shore
Z:Stanford-Petrie 507 
B:The New National Song Book, Charles Villiers Stanford & Geoffrey Shaw, 1906.
F:http://www.folkinfo.org/songs
M:3/4
L:1/8
Q:1/4=100
K:DDor
GA|Bc d2 A2|GA B2 AB|GE D2 D2|D4
GE|D2 D2 EG|A2 A2 Bc|d2 c2 B2|A4
GE|D2 D2 EG|A2 A2 Bc|dB ed cB|A4
GA|Bc d2 A2|GA B2 AB|GE D2 D2|D4|]

and a tune of English origin collected in America:

X:0
T:The House Carpenter
S:Sharp & Karpeles, 80 English Folk Songs from the Southern Appalachians
M:3/2
L:1/4
Q:1/2=80
K:EDor
A   |       B3 F d c  |[M:2/2]B (F/E/) E
A   |[M:3/2]B3 F d c  |[M:2/2]B3
E   |       B B E A/F/|       D E B,
D/E/|[M:3/2]F E/E/ B3F|E3     z2|]

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|]


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|]

X:0
T:Bonnie George Campbell
S:Norman Buchan, 101 Scots Songs
G:song
M:3/4
L:1/4
Q:1/4=120
K:C
E>E E|D<E G|A>A A|G3 |
c>B A|G E C|C<E C|D3 |
E>E E|D E G|A>A A|G3 |
c>B A|G<E C|D E D|C3|]

X:0
T:Farewell to Fiunary
S:Norman Buchan, 101 Scots Songs
G:song
M:6/8
L:1/8
Q:3/8=72
K:G
G|G2G d2B|A2G F2A|B2E E2F|E2D D2
D|E2E G2G|A2B d2d|e2e d2B|A2A G3||
  G2G d2B|A2G F3 |B2E E2F|E2D D3 |
  E2E G2G|A2B d2d|e2e d2B|A2G G2|]

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  D<F A>GA2|c>dA>f G>FD2|F>CD<F A>GA>f|F<FA>F G2F2||
cd/e/f>c d>cA2|c>dA>f G>FD2|f>ad>f c>dA>f|F<FA>F 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 |c<fA G2(F/G/)|A2C  CDE|F>GA 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  c2B<A|d4   d2  :|
% major
fg|a2d2   f2e>d|e>dc>B A2f<g|a2d2  f2e>d|B2e2 e2f>g|
[1 a2d2   f2e>d|e>dc>B A2c2 |B2e2  c2B<A|d4   d2  :|
[2 B<GB>c d2c>B|A2d2   f2e>d|B2e2  c2B<A|d4   d2  |]

And a hymn tune adopted by the Church of Ireland from an Irish folk tune:

X:0
T:Be Thou My Vision
T:Slane
S:Church Hymnary, revised edition
M:3/2
L:1/4
Q:1/2=92
K:Eb
E2  E2  (FE)| C2  B,2 (B,C)|E2 E2 F2| G6     ||
F2  F2   F2 |(F2  G2)  B2  |c2 B2 G2| B6     ||
c2 (cd) (ed)|(c2  B2)  G2  |B2 E2 D2|(C4 B,2)||
E2  G2   B2 |(cB) G2  (EG) |F2 E2 E2| E6     |]

X:0
T:Lydian/Major (4-gap, fa/ti) Hexatonic Scales
L:1/4
M:9/4
K:DbLyd
"^D flat"  D2 EF ABc d2|d2 cB AFE D2||
M:9/4
K:AbLyd
"^A flat"  A2 Bc efg a2|a2 gf ecB A2||
M:9/4
K:EbLyd
"^E flat"  E2 FG Bcd e2|e2 dc BGF E2||
M:9/4
K:BbLyd
"^B flat"  B2 cd fga b2|b2 ag fdc B2||
M:9/4
K:FLyd
"^F"       F2 GA cde f2|f2 ed cAG F2||
M:9/4
K:C
"^C"       C2 DE GAB c2|c2 BA GED C2||
M:9/4
K:G
"^G"       G2 AB def g2|g2 fe dBA G2||
M:9/4
K:D
"^D"       D2 EF ABc d2|d2 cB AFE D2||
M:9/4
K:A
"^A"       A2 Bc efg a2|a2 gf ecB A2||
M:9/4
K:E
"^E"       E2 FG Bcd e2|e2 dc BGF E2|]


6. The Minor/Phrygian Hexatonic Mode
== =================================

The MINOR/PHRYGIAN HEXATONIC mode has interval sequence mTT STT.  On the
white notes this could either have tonal centre A with B omitted or tonal
centre E with F omitted.  It's Acdefga in A.  In sol-fa it's either the
la-mode with ti omitted or the mi-mode with fa omitted.

X:0
T:The Minor/Phrygian (la/mi) Hexatonic Scale
M:9/4
L:1/4
K:AMin
P:la -ti
"_la"A2 "_do"c "_re"d "_mi"e "_fa"f "_so"g "_la"a2 |\
"_la"a2 "_so"g "_fa"f "_mi"e "_re"d "_do"c "_la"A2||
K:EPhr
P:mi -fa
"_mi"E2 "_so"G "_la"A "_ti"B "_do"c "_re"d "_mi"e2 |\
"_mi"e2 "_re"d "_do"c "_ti"B "_la"A "_so"G "_mi"E2|]

It's not very common.  This is a guiser's song from the "Goloshins" New
Year drama.  It seems to be related to the "Ball of Kirriemuir" tune.

X:0
T:Once I was Dead, Sir, but Now I am Alive
G:guising song
S:Katherine Campbell, The Fiddle in Scottish Culture, 2007
M:2/4
L:1/8
Q:1/4=100
K:EMin
z2 |A2  G>B|E2  E>E|G>G   G>A  |B2
z2 |cc  ce |d2  B>G|A>B   A>G  |E2
zE |G>G G>B|E>E E>E|GG    A2   |B2
zG |c>B c<e|d B2 G |A>B   A<G  |E2
B>A|G<G G<B|E<E EE |G>G   G<A  |B2
zB |cB  c<e|dB  zG |A/Bz/ A/Gz/|E2|]

This weird tune comes from a limited-circulation sheet published for
Alexander Campbell (later the editor of "Albyn's Anthology" of Highland
music) late in the 18th century.  It seems never to have been reprinted
since, and there's no indication of where Campbell got it, unless he
wrote it himself, which given his limited talents is unlikely.  It would
be a natural companion for one of the many reels in A major/mixolydian
hexatonic.

X:0
T:Miss McLaine of Tarloisk's Strathspey
S:Alexander Campbell sheet with first tune Balthayoch House
B:NLS Glen.348(15)
N:another copy in Wighton Collection, Dundee
M:C
L:1/8
Q:1/4=88
K:F#Min
% minor/phrygian hexatonic
A>FE<C {C}E2E2|A<FF>E {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//|F<f     Tf>e      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>FE<C {C}E2E2|A<FF>E {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.

X:0
T:He's Over the Hill that I Love Well
S:Cabar Feidh Collection
M:2/4
L:1/16
Q:1/4=84
K:BMin
   f>e|d2B2 B2A>B|G2B2   B2A>B |d2d>e f>de>f|A4 A2
[1 f>e|d2B2 B2A>B|G2B2   B2A>B |d2d>e f>de>f|B4 B2:|
[2 f>e|d2B2 B3A  |B2d2   e3f   |g2f>e g>fe>d|B4 B2||
   e>f|g3a  g2e2 |f>ef<a g>fe>f|d2d>e f>de>f|A4 A2
[1 e>f|g3a  g2e2 |f>ef<a g>fe>f|d2d>e f>de>f|B4 B2:|
[2 f>e|d2B2 B3A  |B2d2   e3f   |g2f>e g>fe>d|B4 B2|]

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|]


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|]

=============================================================================
==  (c) Jack Campin          http://www.campin.me.uk/           June 2014  ==
==        11 Third Street, Newtongrange, Midlothian EH22 4PU, Scotland     ==
==                                                                         ==
==              these pages: http://tinyurl.com/scottishmodes              ==
=============================================================================