Pìobaireachd
From Wikipedia, the free encyclopedia
A pibroch (IPA: [ˈpiːˌbrɔx]) is a classical music form native to the Scottish Highlands and performed on the Great Highland Bagpipe. The form is also sometimes played on the Scottish fiddle as part of a recent revival. In Scottish Gaelic, the original form for the name of this type of music is pìobaireachd (literally meaning "pipering" or "pipery", or the actions of a piper), and the Anglicised word pibroch is derived from the Gaelic pronunciation: [ˈpʰiːbərɒχk]. The word is derived from the Gaelic pìobair which simply means piper, and so the term pìobaireachd has gradually evolved to refer to traditional pipe music. For this reason many pipers prefer the Scottish Gaelic name Ceòl Mòr which is Scots Gaelic for the Great Music, to distinguish it from other kinds of pipe music which are called Ceòl Beag or the Little Music. Piobaireachd is written in a unique classical style that goes back several hundred years, and Ceòl Beag refers to dance music, marches and airs, many of which also go back hundreds of years.
Contents |
[edit] Subjects
The subjects of pibroch music are quite varied but share the common theme of commemorating a specific event. The categories of pibroch include: Laments, Salutes, Gatherings, Rowing. In general, the categories of pibroch do not have distinctive or consistent musical patterns that are characteristic of the category. However pibroch was written for specific events, personages or situations.
Laments are mourning tunes often written for a deceased person of note. Laments were commonly written as a result of families being displaced from their homeland, a practice that was very common after the last Jacobite Rebellion in 1745.
Salutes are tunes that acknowledge a person, event or location. Salutes were often written upon the birth of children or after a visitation to a prominent figure such as a clan chief. Many Salutes have been written to commemorate famous pipers.
Gatherings were tunes written specifically for a clan. These tunes were used to call a clan together by their chief. The tune structure is usually simple so that it could be recognized easily by clan members.
Rowing Pibroch were more rhythmic tunes used to encourage rowers while crossing the sea.
Pibroch tunes often have intriguing names such as "Too Long in This Condition", "The Piper's Warning to His Master", "Scarce of Fishing", "The Unjust Incarceration," and "The Big Spree".
[edit] History
The origins of pibroch are obscure. The musical form appears to have been well developed by the time of Patrick Mor MacCrimmon (ca. 1595-1670), one of the hereditary pipers to the MacLeods of Dunvegan on the isle of Skye.[citation needed] Despite repeated claims that the bagpipe and/or its music was banned after the 1745 rebellion, no evidence for this exists [In the museum of Blar Atholl, in Scotland ( Alba ) there is a decree dating circa 1785 stating that music and dress tradition was no longer prohibited.]. In 1792, the first recognised piobaireachd competition was held in Falkirk at the annual Tryst. Over the course of the 19th century, with the opening up of communications within the Highlands (in particular the railways), a competing circuit emerged, with the two most pre-eminent competitions being held at Inverness and Oban.
Most pibrochs are traditional tunes that were written prior to 1745, and in many cases the composer is unknown. However pibrochs continue to be written by bagpipe composers up to the present day.
[edit] Structure
Pibroch was developed on and for the Great Highland Bagpipe, and as a result relies on the features and limitations of that instrument. Pibroch is properly expressed by minute and often subtle variations in the length of notes, so much so that pibroch is nearly impossible to transcribe accurately to the written score.[citation needed] Many written forms of pibroch do exist (The Kilberry Book of Ceol Mor and The Piobaireachd Society Collection) but they serve mainly as a rough guide for the piper; the proper expression of the rhythms and tempos of the tune must be learned from a teacher. Pibroch does not follow a strict metre, and though it does have a rhythmic flow or pulse; it does not follow a strict beat or tempo though it does have pacing.
In musical structure, pibroch is a theme with variations. The theme is usually a very simple melody, though few if any pibrochs contain the theme in its simplest form. The theme is first stated in a slow movement called the ground or in Gaelic the ùrlar. This is usually a fairly stylised version of the theme, and usually includes numerous added embellishments and connecting notes. The subsequent variations can number from one up to about twenty, although there are a few fragmentary tunes for which only a ground is known. In most cases the variations following the ground involve the use of a number of different musical embellishments, usually starting very simply and progressing through successively more complex movements before returning again to the ground. For example, variations after the urlar or ground usually includes a siubhal (pronounced shoo-all and meaning a passing or traversing) or dithis (pronounced jee-esh and meaning two or a pair) or both. The siubhal comprises theme notes each coupled with a single note of higher or lower pitch that usually precedes the theme note. The theme note is held and its paired single note cut. The timing given to the theme notes is of critical importance in displaying the virtuosity of the master piper. If the theme and single note are repeated or played in pairs, it is referred to as a doubling, otherwise a siubhal singling. The dithis is similar. The theme note is accented and followed by a cut note of lower pitch, usually alternating, for example, between an A and a G. If the coupled pairs are played in a repeating pattern, it too is called a dithis doubling. Following the siubhal or dithis variation are other more complex embellishments. The Gaelic names of these type movements are: Lemluath (Lem-lua), Taorluath (Tor-lua), and Crunluath (Cren-lua). In almost all piobaireachd in which these later movements are found, the variations are played first as a singling and then as a doubling and with a slightly increased tempo. However not all piobaireachds will include all or even any of these movements but instead use variations that are deemed to be irregular.
In addition the theme will usually use one of several internal structures for the ordering of its musical phrases. These are usually classified as follows:
- Primary - The theme or ground is composed of two two-bar phrases, A and B, played in the following order:
-
- AAB
- ABB
- AB
- Secondary - The theme or ground is composed of four phrases, with A and B being one-bar phrases and C and D being two-bar phrases, and played in the following order:
-
- ABCD
- CBAD
- CD
- Tertiary - A relative of Primary Pibroch, with three two-bar phrases, A, B, and C, played in the following order:
-
- AB
- ABB
- AB
- C
- Irregular - The theme or ground does not fit into any of the above structures.
Unfortunately few pibrochs are pure examples of any of these structures though most can be fit into one of the first three with a slight modification of one or two of the phrases in one or more lines.
[edit] See also
[edit] References
- Campbell, Archibald (1948). The Kilberry Book of Ceol Mor. Edinburgh: Printaway Ltd.
- Cannon, Roderick D. (ed.) (1994). Joseph MacDonald's Compleat Theory of the Scots Highland Pipe (c. 1760). Glasgow: The Piobaireachd Society. ISBN 1-898405-41-7.
- Cannon, Roderick D. (1995). The Highland Bagpipe and Its Music. Edinburgh: John Donald Publishers Ltd. ISBN 0-85976-416-8.
- Collinson, Francis (1975). The Bagpipe: The History of a Musical Instrument. London: Routledge & Kenan Paul. ISBN 0-7100-7913-3.
- Donaldson, William (2000). The Highland Pipe and Scottish Society 1750-1950. East Linton: Tuckwell Press. ISBN 1-86232-075-6.
- MacNeill, Seumas (1948, 1976). Classical Music of the Highland Bagpipe. Glasgow: BBC, then College of Piping. SBN:563 07487 6.
