The Highland bagpipe

I.—THE SCALE OF THE PIPES.

In making a few observations on the scale of the bagpipe (Piob-mhorna h-Alba) it is not necessary to go deeply into the evolution of instrumental music, but it may be well to state shortly that the earliest instruments devised for expressing musical sounds, that is sounds having a definite relation to one another, were of two distinct orders, the first probably being the reed or pipe, made of various materials, such as straw, reeds, bone, wood, or metal, blown by the mouth and giving a single note which varied in pitch according to the diameter and length of the tube or pipe through which the wind escaped. The second order was a stringed instrument wherein cords varied in length and thickness were fixed at both ends upon a suitable frame, and the sound was produced by plucking with the finger and allowing the cord to vibrate freely.

The next stage was to make vents or holes in the pipe, arranged so that they could easily be covered by the fingers, and as the sound always escaped by the hole nearest the reed, it was easy to produce a series of sounds by removing one or more fingers in succession. In a somewhat similar way, a series of sounds were obtained from the vibrations of a single cord by pressing, or merely touching, it at certain points, and thus shortening the portion which was allowed to vibrate.

The primary object of all music is to give pleasure through the ear by imitating, or reproducing, more or less correctly, the sound of the human voice, and other natural sounds, so we find that as early instruments began to be improved they were so constructed as to produce various notes having the same intervals between them as are found between the tones of the human voice. In this way instruments with a fixed scale were obtained, and we know that in course of time various nations improved the instruments they had in use, the ancient Greeks especially bringing the art of music and their favourite stringed instrument, the lyre, to a high degree of perfection.

The great defect of all the more ancient instruments was their limited compass, most of them containing from five to ten notes only, thus rendering it impossible to play anything upon them except by the same series of notes and at the same pitch. This was gradually remedied, both as regards wind and stringed instruments, by adopting various devices whereby their compass was extended, and by introducing, with more or less accuracy, new notes called semi-tones between the original notes. The modern method of tuning musical instruments by “equal temperament” was unknown until the time of Johann Sebastian Bach (1685–1750) who, disregarding the custom which had prevailed until his day, of writing in a few keys only, and tuning instruments so as to render these keys nearly perfect at the expense of the rest, himself tuned the instruments on which he played in “equal temperament.” When he first began to play music on the harpsicord, tuned in the old way, in other than the keys in which it was originally composed, the effect was almost unbearable, and it thus became necessary to alter the relation of the notes throughout the whole scale by framing a complete chromatic scale having exactly the same interval between each semi-tone. In this way every note was slightly altered from the true natural scale, but not to such an extent as to seriously offend the ear.

It is obvious that to have a perfect chromatic scale a separate string or pipe is required for each note in such instruments as the organ and pianoforte, while it is obtained in those of the flute and oboe class by making additional holes in the tube at the correct intervals and covering them with close-fitting pads with levers (keys) within convenient reach of the fingers. (Having mentioned the oboe, it may be remarked in passing that its tone has been called “bagpipe music sublimated.”) Various attempts have been made to adapt similar appliances to the chanter of the bagpipe, but the results have not been satisfactory, and its scale remains practically the same as it was two centuries ago. It will be shown, however, with the aid of the table of vibrations appended to this article, that it does not differ so widely from the natural or “equal temperament” scales as the critics allege.

The scale of the bagpipe closely resembles what is known as the Greek scale, having a flat seventh, if we take it as running from A to A^|, with a supplementary note G (the lowest on the instrument). While this is true, a reference to the table of vibrations shows that other scales can be rendered with a fair amount of correctness. A great deal has been written on this subject, much of it tending to show that the bagpipe is hardly, if at all, entitled to be considered a musical instrument. One writer starts with the assumption that the first or lowest note is the keynote of its scale, and thereby, very easily, comes to the conclusion that all the rest of the notes are out of tune. As well might it be asserted that the lowest note in any piece of music is the keynote of such piece; and it is obvious that taking the highest note on the bagpipe for the keynote and descending, quite a different result would be arrived at. There are various other writers who seem unable to distinguish between the Great Highland Bagpipe and the Italian and French bagpipes. With these it has hardly anything in common except the name.

It is pretty certain that the pipe chanter was at first used without a bag, and blown directly from the mouth, as a practising chanter still is, and that its key was D, thus giving an equal number of notes above and below. Afterwards two drones were fitted into the bag along with the chanter, probably in unison with one another, and with the lower A on the chanter, the key of the Greek scale already referred to. The instrument remained in this form for a long period. In the seventeenth century probably a third and longer drone (dos mor) was added, tuned an octave below the others. The drones form a fixed bass, and, according to the well-established principle in music that the bass always ends with the keynote, this may furnish very good ground for saying that the true scale is A, with which, indeed, a very large proportion of pipe music ends. But taking the note D on the chanter as the keynote, it is found that the notes above it are nearly in perfect tune, as can be easily observed by playing any well-known air in that key that falls within the compass of the piob mhor. Of course, it can be seen at a glance from the table of vibrations annexed that the scale of D is very nearly the same as that of A with a flat seventh. The use of this flat seventh descending is so common in minor scales as to form, after the minor third, one of their chief characteristics; and it does not greatly offend even the critical cultivated modern ear, when not an accented note nor leading directly to the key note. According to the principle mentioned already, that the bass always ends with the key note, it must be assumed that A is really the key note of the bagpipe scale, seeing the drones are tuned to that note; and starting from that point we find that A, C, E, A^| are Do, Mi, So, Do^| of the scale of A. Taking the higher Do of this scale and descending a fifth, we find D (Fa), and taking this as the key of a new scale, we find that D, F, A^|, A are Do, Mi, So, Soˌ of the scale of D. In the same way, taking the fifth below D—that is, G—we find that G, B, D, G^| are Do, Mi, So, Do^| of the scale of G. On referring to the table of vibrations it will be seen that all these notes are very nearly correct in the scales mentioned, whatever their Sol-Fa names, the only differences being that B should be a little sharper in the key of A than in D and G, and that E should be a little flatter in the key of G than in D and A. For comparison there is a column inserted in the table giving the vibrations according to “equal temperament” of the chromatic scale from G to A^| . None of the notes of the bagpipe admit of being sharpened or flattened except the upper G, which can be slightly sharpened by opening the E hole along with G and E. The notes D, C, B can be slightly flattened by lifting one finger only, with all those below it closed, but passages requiring this fingering are hardly met with except in pibrochs (Ceòl mor). The scale given in the annexed table is, I venture to submit, the true scale of the bagpipe. It is as perfect as can constructed upon an instrument of such limited compass without the aid of valves, and places it much on a level with the other instruments in use up to the time of Bach, already referred to, whereby the approximate correctness of a few keys was obtained by the sacrifice of all the others. It is possible that pipe chanters may not always be bored with perfect accuracy, and that in the case of very old instruments the holes may get enlarged by wear so as to be more or less out of tune, but I think that the true “bearings” are as I have stated.

Is is to be noted that but very few of the airs of our Gaelic songs can be played on the bagpipe, a fact which we think goes far to prove that the instrument was designed and used for martial purposes in the open air. Indeed the timbre of the instrument renders it unsuitable for playing in concert with the human voice.

It is, I think, a matter of great satisfaction to all Highlanders and to those who love the race, that so many intelligent and praiseworthy efforts are being made at the present time to preserve and cultivate our national music.

The following is the table of vibrations of musical scales forming the foundations of the scale for the bagpipe:—

Note.—These calculations are made assuming that C in the middle of the staff has 528 vibrations, but of course whatever pitch be taken the relative proportion of the notes remains the same. Fractions, except in the case of one note, are omitted in the scale of equal temperament.

I.—CARRIAGE OF THE PIPES.

If the player is standing the body should be perfectly upright, head erect, and eyes carelessly fixed on some object as high as himself. Great care should be taken that the shoulder on which the big drone rests is not allowed to rise, or yield in any way to the weight or blowing of the pipes; the head must not incline towards the big drone or droop backwards or forwards; the chest must be kept inflated and the shoulders square.

If the player is marching the shoulders should be allowed to swing to and fro, the motion proceeding from the haunches only and not exceeding what will suffice to give a free and easy step. His bearing should be stately and lofty in accordance with the warlike instrument on which he plays. In playing marching tunes the performer should never stand, if possible, and when marching should beware of taking short stilted steps. He should also practise reels in marching time, and play over irregular ground, in order to gain confidence and command over his instrument.

II.—BLOWING THE PIPES.

In blowing the bagpipe, the cheeks must never be inflated nor the face distressed in any way. There is really no hard work required, only a little careful practice, and everything should be done as easily and freely as possible. The bag does not at all times require to be filled to its full extent, a little more than three-fourths being usually sufficient. The player must not expend all his breath without resting, as by so doing he will not only hurt but disable himself. The arm should be pressed lightly on the bag, but allowed to yield gently to the wind as it comes from the mouth, the pressure being gentle and steady and according to the strength of the reeds. The player will at first find some little difficulty in satisfactorily managing the bag, but when he has succeeded he will be able to play in a free and commanding style, and will have surmounted a difficulty which is a great bugbear to all inexperienced players.

III.—TUNING THE PIPES.

When the pipes are first struck in, the big and outer drones should be stopped by placing a finger over the hole of the bell of each. In doing this or at any time when only one hand holds the chanter, the E note should be sounded. The centre drone being nearest to the ear should, as a rule, be tuned first. Should this drone not be in tune with the chanter reed, a discord between them will ensue, and to get a chord the point of the drone must be moved up or down, as the case may require. By carefully listening to the chanter reed and moving the joint at the same time, the player will easily discover whether the sounds are assimilating or the discord increasing, and be able to suit his action accordingly, until the sounds blend into one. The low A must now be sounded, and the drone tuned to that note. (We may, however, tune to E, high G, or in fact any note, providing the chanter reed is true to all the notes, but in order to prove the reed and tune the pipes at the same time, low A is generally preferred.) Afterwards sound high A to prove whether the chanter reed is properly set, and true from low to high A. If it is, the drone also will be in perfect chord with the latter note. But should this not be the case and the drone cannot be brought to the exact pitch with both notes. The discord, however slight, must be divided between the two notes, and not left wholly on either. If the pipe or the reeds are not defective, this should never occur, and the reeds if properly fitted should tune about the centre of the joint. After the centre drone is properly tuned, the outer should be begun by placing the finger on the air-hole of the bell, or suddenly easing the arm. This drone is not tuned to the chanter reed but to the drone already tuned, in the same manner as that was tuned to the chanter reed. The big drone is tuned to the other two in a similar manner.

After the centre drone has been tuned to the chanter reed, raising the others to the same height in the tuning joint or in line with it, does not always put the drones in tune. The reeds may differ materially in tone, and they must be brought to the same pitch by studying the sounds only. When the pipes are in tune all four reeds will chord. One may be stronger or harsher than another, and still chord with it. It is sometimes difficult for the learner to find the tuning mark, as it is very exact. Care and practice makes it easy.

Young pipers should never play with their instruments out of tune, as this will accustom their ears to discords, and they will eventually be unable to tell when their pipes are in tune and when they are not. Suddenly moving the joints up or down to their full extent will be found capital practice for the beginner, as he cannot then fail to distinguish discords. He should then move them cautiously back as if feeling for something, and he will hear the jarring sounds gradually dying away until they blend in chord. In tuning, care must be taken that the pressure of wind on the reeds is exactly the same as when playing, otherwise discord is inevitable.

Beginners should use reeds in the centre and big drones only, as the pipes will then he easier blown, as well as easier tuned. The practice can be discontinued when the player is able to blow freely. The further down the drones are tuned the sharper the sound becomes, and the further up the flatter or deeper. So if the chanter should have a sharp sound the drone must also be made sharp, or vice versa. All new reeds are generally sharp, and become flatter the longer they are played on.

Reeds have many defects, and nothing but experience combined with care will make a piper thoroughly at home in dealing with them.

A new reed before being put into the chanter should be placed in water for a few minutes. If it has lain past for some time it should be left in the water longer, as the wood may have shrunk or the blades become too open or close. New reeds can never be thoroughly depended on, as they alter more or less with use. They should therefore never be cut or interfered with before being tried. They are also, as a rule, harder to blow than reeds which have been in use for some time; and, if after a fair trial, they are still found to be too strong, they may then be weakened at the discretion of the player. When a reed has a “dirling” sound on the low hand (generally A or G), it is either too weak or too lightly built. In the latter case, it will, combined with the “dirling” sound, have a want of fulness of tone, and cannot be readily improved. Should it be only too weak, it can be easily strengthened by being opened carefully and gradually with a specially made implement of some kind until it has a firm sound. This, of course, has to be done with great care, or the reed may be rendered useless. When a reed is too flat, the staple should be lowered into the chanter until the correct sound is produced. If the staple is as far down as it can be got a hairsbreadth may be cut from the point of the reed and the staple raised or depressed as required. If after this the reed becomes too strong, the blades may be slightly reduced with sandpaper. If the blades are already sufficiently thin, but the point of the staple too open, it can be made considerably closer by inserting a tapered instrument into the staple, and giving the latter a slight tap with a small hammer. In this, care must be taken that the instrument used is shaped as like the inside of the staple as possible. In the event of the reed being too sharp, the staple should be raised in the chanter as high as possible, when should it still prove too sharp, it may be opened in the way already described. This, however, should only be done when the staples or blades are too close, as although the tone is rendered flatter by the process the reed is more or less strained, which is apt to give it a sound insufficiently full, and render the playing laborious without any object being gained.

The player should always bear in mind that the longer reeds are in use the flatter they become. In cases where a reed is not very much out, it can be toned down by frequent playing, rather than by experimenting with it. When it is too strong and not too open in staples or blades it may be partly because it contains too much wood, a matter which can be easily rectified with fine sandpaper. A reed that is too strong owing to its being too open in the blades can be made considerably closer and easier to blow by taking a common cork, making a deep cut in the end of it, and inserting the blades of the reed into the cut, then tying a piece of cord round the cork sufficiently tight to close the blades, and leaving it in that position for a few days. The width of the staple should, however, be tested before this is done, as if it is too open making it closer by the process already explained will make the blades closer also, and save the trouble of using the cork.

It should be noticed that when chanter reeds have certain false notes, such as a sharp high A or a flat high G or E, this is caused by the reeds being improperly fitted, the points of the blades being too thin or the sides of the reed being too thick. Care must therefore be taken, when fitting a reed, that all the different notes are true, after which it should never again be touched except when actually requiring attention.

The beginner may find some difficulty in distinguishing the true sound when the chanter reed is in his mouth. He should therefore put it unto the pipe and sound it, when he will be better able to judge, as he will hear the sound from a greater distance. The chanter reed should always have a clear, distinct, shrill sound, accompanied with a full and firm tone in every note.

The small drone reeds should sound smooth and firm, with a clear humming sound, and the big drone reed deep and bass, and strong enough to bear the pressure of wind required for the chanter reed. New reeds are often hard to “strike in,” and have a rough or sharp tone. This is owing to their newness and dryness, and goes away with playing. They are also frequently inclined to close or stop. This is caused by the steam of the breath swelling the wood, and causing it to fall into its natural set. In this case, the tongue of the reed should be raised as high as it will admit of without straining, and the centre pressed down. Should it after this become too rough or flat, it can be rectified by bringing the tuning string a little towards the point of the tongue. Should this make it too weak for the strength of the chanter reed, the best plan is to raise the tongue and put a hair (out of the head) between the tongue and body of the reed, and as far back as the tuning string will permit.

When a drone tunes too far up, that is when the tuning mark is higher than the joint can be raised, it will be too sharp to admit of its chording with the chanter reed. In that case the reed should be lowered—i.e., given a smaller catch in the joint or drone. Should it still prove too sharp, the tuning string should be moved backwards towards the end placed in the joint. This ought to correct any ordinary reed. Should it fail, the reed must be too short and cannot be amended except by altering the chanter reed, which should never be done for such a purpose, the chanter reed being always first set and the others set to it.

When the tuning mark is too far down for the joint, and the tone cannot be rendered sufficiently sharp, the required sound will in most cases be produced by moving the tuning string towards the point of the tongue. Should this fail, the reed may be put further into the joint of the drone, or a very little cut off the end which goes into the joint.

When reeds have a rough, roaring sound they may be rectified by bringing the tuning string nearer the point of the tongue, as before described. A reed may have a burring, squealing, or double tone when blown up to the full pitch of the chanter reed. This may be caused by the tuning string being too tight, or it may be caused by the tongue being too heavy, in which case the proper note may be obtained by cutting one or more notches across the tongue. This will weaken the false sound, and with regular playing it will disappear.

It must be remembered that over-blowing a reed will cause it to “dirl,” and half covering any of the holes will cause the reeds to squeal. In blowing, also, if the regular strength of wind is withheld from the reeds, even for an instant, they will stop, or “hiccough,” as pipers term it. The results of these mistakes must not be attributed to the reeds.

An old reed may be made to wear much longer by putting one or more hairs under the tongue where the tuning string is placed and using a new tuning string.

A reed is said to be “water-locked” when it has become soft through continuous use. Drone reeds only are liable to become water-locked, and should never be over-played. When the mischief is done they must be laid aside until properly dry.

Wet reeds should be taken out before the pipes are laid past, and the water blown out of them. They should then be rolled between the hand and knee and the tongue slightly lifted, after which they should be replaced in the joints. Reeds should not be exposed to the air to dry. A common bottle makes an excellent receptacle for them.

Young pipers should on no account tamper or experiment with their reeds, unless they are perfectly certain of what they are to do, why they are to do it, and what the result will be.

VI.—THE BAG, AND HOW TO KEEP IT.

For making the bag tight a paste composed of resin, beeswax and sweet oil boiled together is here recommended. This, when cool, should be slightly thicker than cream. After the stocks have been inserted a few spoonfuls of this paste should be put in (lukewarm), then the stocks stopped up and a little wind left in the bag to prevent its sides sticking. The skin should be rubbed and wrought until it becomes impregnated with the paste.

When pipes are much used, and the bag draws a good deal of water, the reeds will always be damp. To remedy this, a little salt may be put into the bag, which will cause the damp to be discharged through the skin. This, however, might make an old bag give way altogether. Water should never on any account be put into the bag.

The bag should always be soft and pliable. This can be managed in several ways. After being dried, say half a teacupful of melted brown sugar may be passed into it, and worked with the hands, the skin being then hung up overnight for the surplus sugar to run out.

VII.—KEEPING THE PIPES IN ORDER.

Pipes as a rule should be cleaned thoroughly at least once a month, and if much played on once a week. Cocoa-nut oil will be found to serve the purpose best. When the pipes are to be cleaned the reeds should first be removed, and either placed in a bottle or rolled in a damp rag. The different joints should then be detached and the pieces cleaned outside and inside with an oily rag, a long feather saturated with oil being passed through the joints. If not required immediately, and after the reeds have been reinserted, the instrument should then be laid past in its oily state for a few hours. Before being used, the reeds should be again abstracted and all the parts carefully cleaned. Care must be taken that the warping on the joints is never allowed to get ragged or soaked with water, as this will cause the joints to crack, or swell the hemp, and render them difficult to move. The player cannot be too particular in satisfying himself that none of the joints are too tight. New pipes, especially in hot weather or warm climates, should before being used be laid up for a few days in cocoanut oil and exposed daily to the sun; care, however, being taken that they are not allowed to dry and that they are frequently turned and well wetted with oil. This will season the wood, and lessen the danger of splitting.

The young piper must not forget that it is the practice chanter that makes the piper, and he should never attempt to play a tune on the full set until he can play it thoroughly on the chanter. Quick and careless playing should always be avoided. Also, the player should endeavour to get into the spirit of the music by understanding the circumstances under which each particular tune was composed and the feelings it is meant to express. No man other than a Highlander can fully appreciate the piobaireachd or do justice to the wild, though majestic, strains. The histories of the various tunes, with the words to which they are set, would be invaluable to the player, and it is to be hoped that the present volume will do something towards emphasising all the grand old associations that cling round the Highland Bagpipe, and thus enable the public to appreciate it all the more and pipers to play it all the better.

III.—BIBLIOGRAPHY OF PIPE MUSIC.

The list of books of pipe music is not very long, but the difficulties of making it complete and accurate are more than may at first appear. The principal difficulty is in the matter of dates, publishers, no doubt for good reasons, nearly always refraining from giving on their title page the year in which the book was first issued. Some of the older books, too, are now very rare, and there are not many people who have anything like a complete set. The following list has been compiled with every possible care:—

1784—Mac Donald—A collection of Highland Vocal Airs with a number of Country Dances or Reels of the North Highlands, a few Bagpipe Strathspeys and Reels set for the Violin, and also four Pibrochs, viz.:—Mac Intosh’s Lament, Mac Crimmon’s Lament, The Finger Lock, and Peace or War. Compiled and published by Rev. Patrick Mac Donald, minister of Kilmore, Argyllshire. Out of print.

1803—Mac Donald—A Treatise on the Theory, Principles and Practice of the Great Highland Bagpipe, to which is added one pibroch for a beginner; prepared by Joseph Mac Donald, Sutherlandshire, and published by his brother, Rev. Patrick Mac Donald, Kilmore. Out of print.

1818—“Amateur”—A Preceptor for the Great Highland Bagpipe, with a few favourite simple airs; written and edited by “An Amateur,” and published by Oliver & Boyd, Edinburgh. Price 3s. Out of print.

1822—Mac Donald—A collection of the Ancient Martial Music of Caledonia, called Piobaireachd, consisting of 23 pieces, as performed on the Great Highland Bagpipe. Now also adapted to the pianoforte, violin and violincello; with a few old Highland lilts purposely set for the above modern instruments; to which is prefixed a complete tutor for attaining a thorough knowledge of pipe music. Respectfully dedicated to the Highland Societies of London and Scotland by Donald Mac Donald, and published by Alex. Robertson & Co., Edinburgh. Republished in 1855 by Messrs. J. & R. Glen. Price £1 1s.

1828—Mac Leod—Canntaireachd, a collection of twenty Piobaireachd or pipe tunes, as verbally taught by the Mac Crimmon pipers in the Isle of Skye to their apprentices; published as taken from John Mac Crimmon, piper to the old Laird of Mac Leod and his grandson, the late John Mac Leod of Mac Leod. Edited by Captain Neil Mac Leod of Gesto. Reprinted in 1880 by Messrs. J. & R. Glen, Edinburgh.

1829—Mac Donald—A collection of Quicksteps, Strathspeys, Reels and Jigs, consisting of 120 tunes, arranged for the Highland Bagpipe. Edited and published by Donald Mac Donald & Son, pipe makers, Edinburgh. Republished by Messrs. J. & R. Glen in 1848 and frequently afterwards. Now in fifth edition. Price 2s.

1838—Mac Kay—A collection of Ancient Piobaireachd or Highland Pipe Music, consisting of sixty-one tunes, many of them adapted to the pianoforte, with instructions for learners of pipe music, sketches of the principal hereditary pipers, and historical and traditional notes respecting the origin of the various pieces. Edited and published by Angus Mac Kay, piper to the Queen. Second Edition published in 1839, also by Mac Kay. Price, £1 15s. Reprinted in 1899 by Logan & Co., Inverness. Price, £1 1s.

1841—Mac Kay—The Complete Tutor for the Great Highland Bagpipe, with a compendious selection of Marches, Quicksteps, Strathspeys, Reels, and Jigs, consisting of 100 tunes. The whole selected and arranged specially for the instrument by William Mac Kay, piper to the Celtic Society of Scotland. Published by Alexander Glen, Edinburgh. Corrected and improved by Angus Mac Kay in 1843 and republished by Mr. Glen. Price 4s. Out of print.

1843—Mac Kay—The Pipers’ Assistant, a collection of Marches, Quicksteps, Strathspeys, Reels, and Jigs, consisting of 155 tunes. Edited by Angus Mac Kay, piper to the Queen. Edinburgh, published by Alexander Glen, bagpipe maker, 30 West Regent Street, London, by Angus Mac Kay. Price 8s. Out of print.

1847—Gunn—The Caledonian Repository of Strathspeys, Reels, Jigs, and Quicksteps, consisting of about 200 pieces. Edited and published by William Gunn, piper, Glasgow. Enlarged by about a dozen tunes in 1867, and republished by Gunn. Republished in 1892 and 1889 by Peter Henderson, Glasgow. Price 6s.

1853—Mac Lachlan—The Pipers’ Assistant, containing 120 tunes. Compiled by John Mac Lachlan, piper to Neil Malcolm of Poltalloch, and published by Alex. Glen, Edinburgh. Price 6s. Out of print.

1860—Glen—The Caledonian Repository of Music for the Great Highland Bagpipe, consisting of Marches, Strathspeys, Reels and Quicksteps to the number of 120 tunes. Edited and published by Alexander Glen, Edinburgh. Revised and republished by David Glen in 1882. Price, 6s. Out of print.

1869—Ross—A collection of Marches, Strathspeys, Reels, and Pibrochs, consisting of 243 pieces. Edited and published by William Ross, piper to the Queen. Several editions since published, and book now contains 41 pibrochs and 437 marches, etc. Republished in 1900 by Mrs. Ross. Price, £1 10s.

1870–1871—Glen—Parts I., II., and III. of Glen’s collection for the Great Highland Bagpipe, consisting of about 160 tunes. Edited and published by J. & R. Glen, Edinburgh. Price, originally 3s. each part, now 1s.

1876–1901—Glen—Parts I. to XVII. of a collection of Bagpipe Music, consisting altogether of about 1000 pieces. Edited and published by David Glen. Edinburgh, at different times between 1876 and 1901. Price, each part, 1s; complete volume, with tutor, £1.

1876—Mac Phee—A selection of Music for the Highland Bagpipe, consisting of about 150 Quicksteps, Marches, Strathspeys, Reels, etc., with a complete tutor. Edited and published by Donald Mac Phee, Glasgow. Price, 6s., in cloth 7s. Republished in 1895 by Messrs. Logan & Co., Inverness, in two volumes, at 2s. each.

1880—Mac Phee—A collection of Pibrochs, consisting of 37 tunes. Edited and published by Donald Mac Phee, bagpipe maker, Glasgow. Republished in 1885 by Messrs. Logan & Company, Inverness. Price, 8s.

1880–1899—Glen—Parts I. to IV. of a collection of Ancient Piobaireachd or Highland Pipe Music, consisting altogether of 55 tunes; arranged, revised, and published by David Glen, Edinburgh, at different times between 1880 and 1899. Price 4s. each part.

1881—Glen—David Glen’s Highland Bagpipe Tutor, with a selection of Quicksteps, Strathspeys, Reels, and Jigs, amounting to 50 tunes. David Glen, Edinburgh. Price, 3s. Now in 13th thousand, price, 1s.

1887—Mac Kinnon—A collection of Highland Pipe Music, consisting of Marches, Strathspeys, and Reels to the number of 82 tunes, with a complete Tutor. Edited and published by Robert Mac Kinnon, bagpipe maker, Glasgow. Republished by Mr. Mac Kinnon in 1898. Price 4s.

1888—Henderson—Henderson’s Bagpipe Collection of Marches, Strathspeys, and Reels, extending to 138 tunes. Edited and published by Peter Henderson, bagpipe maker, Glasgow. Price 5s.

1891—Henderson—Henderson’s Bagpipe Tutor and Collection of Marches, Strathspeys, and Reels, to the extent of 56 pieces. Price 2s.

1899—Bett—A Collection of Pibrochs, Marches, Strathspeys, and Reels, consisting of 198 tunes. Edited and published by James Bett, Strathtay. Price, £1 1s.

1899—Logan—A collection of Marches, Quicksteps, Laments, Strathspeys, Reels, and Country Jigs, consisting of sixty pieces. Logan & Co., Inverness. Price 1s.

1900—Glen—The Music of the Clan Mac Lean, consisting of 25 pieces, compiled under the auspices of the Clan Mac Lean Society of Glasgow. Edited and published by David Glen, Edinburgh. Price, in paper, 5s., in cloth gilt, 7s. 6d.

1900—Henderson—Henderson’s Tutor for the Bagpipe and collection of Marches, Strathspeys, Reels, Country Dances, Jigs, etc., consisting of 197 pieces. Peter Henderson, Glasgow. Price 7s. 6d.

1900—Thomason—A collection of Piobaireachd as played on the Great Highland Bagpipe—Ceol Mòr—compiled, edited, and rendered in a new and easily acquired notation by Major-General C. S. Thomason, R.E. (Bengal). Published by C. S. Thomason, c/o S. Sidders & Co., 17 and 19 Ball Street, Kensington, London, W.

In 1781, the Highland Society of London instituted competitions in pibroch playing. It was not, however, until 1835 that the gold medal now so well known as the highest honour attainable by pipers, was first awarded. The following is a list of the first prize winners and gold medalists so far as it has been found possible to obtain them. Unfortunately for the absolute authenticity of the list, the records of the Highland Society were lost in a fire sometime ago, and the secretary, therefore, could not supply them officially. It has, however, been carefully compiled from Angus Mac Kay’s book of pipe music, the files of the Glasgow Herald and those of the Inverness Courier, and it may be relied on as thoroughly accurate:—

1781

—Patrick Mac Gregor, Ardradour, Perthshire.

1782

—John Mac Allister, West Fencible Regiment.

1783

—Neil Mac Lean, Airds.

1784

—John Mac Gregor, senr., Fortingall.

1785

—Donald Mac Intyre, senr., Rannoch.

1786

—Roderick Mac Kay, North Berwick.

1787

—Archibald Mac Gregor, Glenlyon.

1788

—John Mac Gregor, Strathtay.

1789

—Duncan Mac Nab, Lorne.

1790

—Robert Mac Intyre.

1791

—Donald Mac Rae, Applecross.

1792

—John Mac Kay, Raasay.

1793

—John Mac Gregor, Breadalbane Fencibles.

1794

—Angus Cameron.

1795

—Peter Mac Gregor.

1796

—Donald Fisher, Breadalbane.

1797

—Alexander Mac Gregor, Glenlyon.

1798

—Donald Mac Earchar.

1799

—Dugald Mac Intyre.

1800

—George Graham.

1801

—William Forbes.

1802

—John Buchanan, 42nd Highlanders.

1803

—Donald Robertson, Edinburgh Volunteers.

1804

—Malcolm Mac Gregor.

1805

—Duncan Mac Master, Coll.

1806

—John Mac Gregor, London.

1807

—Donald Mac Nab.

1808

—John Mac Gregor, 73rd Regiment.

1809

—Peter Forbes, Foss.

1810

—Allan Mac Lean, Mull.

1811

—John Mac Gregor.

1812

—Donald Mac Gregor.

1813

—Finlay Mac Leod.

1814

—Robert Mac Kay, Sutherlandshire.

1815

—John Mac Kay, Sutherlandshire.

1816

—Donald Mac Kay, Glasgow.

1817

—Donald Mac Donald, Argyllshire.

1818

—Allan Mac Donald.

1819

—John Campbell.

1820

—William Mac Kay, piper to Celtic Society.

1821

—Adam Graham.

1822

—Donald Mac Kay.

1823

—John Mac Kenzie.

1824

—Donald Scrimgeour.

1825

—Donald Stewart.

1826

—John Gordon.

1829

(First triennal competition)—John Mac Nab, 92nd Highlanders.

1832

—Roderick Mac Kay, Abercairney.

1835

(First competition for gold medal)—John Mac Kenzie, piper to the Marquis of Breadalbane.^[17]

1838

—John Mac Beth, piper to Highland Society of London.

1841

—Donald Mac Innes, late piper to Colonel Mac Neill of Barra.

1844

—Donald Cameron, piper to Sir James J. R. Mac Kenzie of Scatwell.