The MacArthur-MacGregor Manuscript of Piobaireachd (1820): (Music of Scotland)

This nineteenth century manuscript is published for the first time with critical and performing editions of the music. The MacArthur-MacGregor Manuscript of Piobaireachd contains thirty compositions for the Highland bagpipes for use on ceremonial occasions, compiled by the pipers Angus MacArthur of Trotternish in Skye and John MacGregor ofFortingall in Perthshire, and overseen by Andrew Robertson of the Highland Society of London. This Piobaireachd Society manuscript [deposited in the National Library of Scotland] is published here for the first time in a volume comprising extensive background material, critical and performing editions of the music, and a facsimile of the original music pages. FRANS BUISMAN [1942-2002] spent his working life cataloguing oriental books at Amsterdam University and devoted the rest of his time to the classical music of the great Highland bagpipe. ANDREW WRIGHT is one of the world's foremost performers, teachers and adjudicators of ceòl mór, the classical music of the Highland bagpipe. Formerly Reader in Chemistry at the University of East Anglia, RODERICK CANNON is also a piper and author of several books about the history of bagpipes and their music.

Table of Contents:
Foreword - Alasdair Milne General Preface - Roderick Cannon Introduction - Frans Buisman Chapter I: History and description of the manuscript A. The making of the manuscript B. The fate of the manuscript C. Physical aspects of the manuscript - handwriting - paper and binding Chapter II: MacArthur and MacGregor pipers A. Angus MacArthur II and the MacArthur pipers B. MacArthur compositions C. John MacGregor IV and his background Chapter III: Technical characteristics of Highland bagpipe music A. Physical aspects of the Highland bagpipes and some musical implications - drones - strikes and cuts (pseudo-notes), true grace notes and short melody notes B. Pipers' staff notation Chapter IV: Playing style and style of notation 1. High and low G and high A 2. Strikes and cuts 3. Introductory notes and reflective notes 4. Phrasing 5. Length of notes 6. Writing automatisms and shorthand 7. Grips and throws 8. Grips in standard variations 9. Notes surrounded by strikes 10. Conclusion Appendices - Frans Buisman Appendix 1: Index to chapters III and IV Appendix 2: Extracts from papers of the Highland Society of London Appendix 3: Concordances Facsimilies Critical Edition with Commentaries - Edited by Frans Buisman Editorial policy - Editorial symbols - Formal characterisations - Abbreviation symbols used for ornaments in the standard variations - Names of movements, names of other ornaments 1. The Big Spree 2. King James VI's Lament 3. King James VI's Salute 4. Beinn A'Ghriain 5. The Bells of Perth 6. Hector MacLean's Warning 7. Spaidearachd Bharrach 8. The Battle of Red Hill 9. The MacDonalds' Salute 10. The Highland Society of Scotland's Salute 11. Catherine's Lament 12. Abercairney's Salute 13. Beloved Scotland 14. The MacLeans' March 15. The Brother's Lament 16. Lord MacDonald's Lament 17. The Daughter's Lament 18. Nameless 19. MacKay's Lament 20. Nameless 21. The Bard's Lament 22. Suarachan 23. Sir James MacDonald of the Isles' Lament 24. Lady MacDonald's Lament 25. MacKenzie of Gairloch's Lament 26. Dungallon's Lament 27. Lady Margaret MacDonald's Salute 28. The Laird of Arnaboll's Lament 29. Nameless 30. You're Welcome, Ewen Performing Text - Edited by Andrew Wright Preface to the performing text Key to abbreviations used

About the Author :
Angus MacArthur The last in a line of hereditary pipers retained by the MacDonalds of Sleat in Skye. John MacGregor Notator of the music. One of the MacGregor pipers from Fortingall, a family that dominated the first thirty years of the Falkirk and Edinburgh piping competitions. He was appointed principal piper to the Highland Society of London in 1805.