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7 (1938), p. 206 for a discussion of the various titles given to this pibroch in the different sources. 33 MacKay, Collection of Ancient Piobaireachd, p. 7. 34 General Thomason, ‘Ceol Mor Legends’, NLS MS 3747–9. 20 The Highland Bagpipe regarded as the stressed one. In normal speech it would be the first. Mrs Munro’s Skye variant – which is no longer pentatonic – suggests a connection with the ‘thumb’ variation rather than the ground – for in thumb variations a ‘high A’ replaces certain notes of the ground – in this case, the note F each time.

8, is Pro blems o f No tating Pibro ch: a Study o f ‘Mao l Do nn’  There is abundant evidence elsewhere, however, to suggest that most pibroch melodies consist of well-balanced phrases which have an underlying metrical structure – albeit a flexible one – that assigns prominence to certain notes of each phrase. Joseph MacDonald15 went to some length to explain what he understood by ‘Time’ in pibroch music and others since then have also done so. Furthermore, pipers have traditionally measured off their pibroch melodies by counting on their fingers and, when free to do so – that is when singing rather than playing the melodies – they will sometimes beat time or sway in time with what they conceive to be the underlying accents.

A pipe chanter that other musicians will love. The NEW Shepherd ‘Orchestral Chanter’. Pitch and tonality to work with the professionals.  Since radio broadcasting began, the tuning ideals of more glamorous and profitable music traditions have eroded the non-conformity of the bagpipe scale, with the  I am grateful to Peter Greenhill, Peter Cooke, Decker Forrest and Richard Hensold for their generous sharing of wisdom as this chapter evolved. net.  Piping Times 66/10 (July 2008): 28. The Highland Bagpipe 26 result that young players no longer find the intonation of tracks 5, 6, 10, and 12 on the accompanying CD attractive.

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Automatic music monitoring and boundary detection for broadcast using audio watermarking by Nakamura, Tachibana, Kobayashi


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