Celtic Arts Winter School

Music Book Volume VI Cover photo courtesy of

2018 Stuart Liddell - February, 2017
Our sincere thanks to PM Roddy MacLeod, MBE, of Scotland’s National Piping Centre,
for making this music pack available for our student’s use in 2018 and beyond. We hope
you’ll find many great tunes, and hours of enjoyment in the following pages.

Celtic Arts Foundation

Mount Vernon, WA

www.CelticArts.org
Contents

Slow Airs Strathspeys Reels Hornpipes

Angus MacLeod 4 Caledonian Society of London 33 Bessie MacIntyre 66 Calum Beag 106
Ceannloch 5 Captain Colin Campbell 34 Captain Lachlan MacPhail of Tiree 67 Chasing Shadows 107
Hailey’s Song 6 Captain Horn 35 Crooked Bridge 68 Donald MacLeod 108
Heather Island 7 Highland Harry 36 Dancing Feet 69 Fag a Phiob Bhochd 109
Loch Rannoch 8 John Roy Stewart 37 John Morrison of Assynt House 70 Jim Tweedie’s Sea Legs 110
Mo Ghaol 9 Lady Loudon 38 MacPhersons 72 The Golden Pheasant 112
My Home 10 Monymusk 39 Megalomania 73 The Merry Macs 113
Paddy’s Green Shamrock Shores 11 The Braes O’ Mar 40 Pretty Marion 74 The Straloch Turkeys 114
Samantha’s Lullaby 12 The Campbeltown Kiltie Ball 41 Sound of Sleat 76 The Train Journey North 115
The Carles wi’ the Breeks 13 The Devil in the Kitchen 42 The High Road to Linton 77 Willie’s Brogues 116
Theid Mi Dhachaidh 14 The Duke of Gordon’s Birthday 43 The Piper of Drummond 78
Tiree Bridal Song 15 The Spirits of Old Pulteney 44 The Sheepwife 79 Exercises
9/8 Marches Jigs Piobaireachds Exercises SCQF 2 117
Exercises SCQF 3 119
Between the Don and the Dee 16 Coppermill Studio 45 A Welcome for Patrick Struan 80 Exercises SCQF 4 122
Heather Grant of Strathyre 17 Cork Hill 46 The Boat Tune 82 Additional Useful Exercises 125
The Black Isle 18 Donald MacLennan’s Tuning Phrase 47 Lament for Alasdair Dearg MacDonnell Piobaireachd Exercises 128
The Festival March 19 Donella Beaton 48 of Glengarry 85
Goatherd and the Shepherd 49 Lament for Red Hector of the Battles 88 Exam Syllabi 133
12/8 Marches Jimmy Ward’s Jig 50 Lament for Sir James MacDonald 89
The Handshaker 51 of the Isles SCQF 2 - 8
The Sixth of June 1944 20 The Kitchen Maid 52 MacDonald of Kinlochmoidart’s 91
The Lady in the Bottle 53 Lament (No. 1)
Manuscript 145
Retreat Marches The Panda 54
Argylls Crossing the River Po 21 The Piper’s Wedding 55 2/4 Marches
Buzancy 22
Colin’s Cattle 23
6/8 Marches Happy We’ve A’ Been Together 95
Highland Laddie 96
Dark Lowers the Night 24 Captain C.R. Lumsden 56 Invergordon’s Welcome to 97
MacGregor of Rora 25 Cuil House 57 H.M. Queen Elizabeth II
Shores of Argyll 26 Dovecote Park 58 Major Manson at Clachantrushal 98
Stornoway Bay 27 Hills of Glenorchy 59 Mrs. Donald MacLean 99
The Hawk that Swoops from on High 28 Karen MacFadyen 60 Mrs. Mary Anderson of Lochranza 100
The Kilworth Hills 29 Leaving Port Askaig 61 Muir of Ord 101
The Lads of Argyll 30 Major John MacLennan 62 Pipe Major Ronald McCallum, MBE 102
The Stat Oil March 31 Murdo MacKenzie of Torridon 63 The Desert March 103
Torosay Castle 32 Queen Elizabeth’s March 64 The Glenfinnan Highland Gathering 104
The Steam Boat 65 Willie McCallum Senior’s March 105
Slow Air Angus MacLeod Donald MacLeod

$HEP: R ]r. Fj m F* "{ 2) F$2 "^ Fg P L, {e Cr. j u[ N "( "X Fl- ^ Fg m {d R

$ ]r. Fj m F* "{ 2) F$2 "^ Fg P L, {e Cr. j u[ N "( "X uX { _{=
$: {e zM~ 0 S Cm g F, {e zM~ 0 S Cm g F, {e Cr. j u[ N "( "X Fl- ^ Fg m {d L=
$ ]r. Fj m F* "{ 2) F$2 "^ Fg P L, {e Fr. j u[ N "( "X uX { _{=

Footer

Page 4
Air Ceannloch William McCallum

                                      

                                      
                                    
                                  
                                      
                                    

Page 5
Air Hailey's Song William McCallum

                         

                             
                           
                              

Page 6
Gaelic Air Heather Island Traditional

$MHE:%| gl- a F^ o. vf, 2[ B{ gl- a F`+ >[ gl- m y< zM~ 0 s xr. g Fp u/ S{ F^ i- Fx/ zMy ^x/ [ vd 2]+=
$: zM~ 0 s Fr. My [f, 2[ B{ gl- a F`+ >[ gl- m y< zM~ 0 s xr. g Fp u/ S{ F^ i- Fx/ zMy ^x/ [ vd 2]+ =

Page 7
Slow March Loch Rannoch J. Wilson

                
               
                
               

Page 8
Hymn Mo Ghaol's Mo Ghràdh's M'Eudail Thu Arr. Allan MacDonald

$HEP: | F{ "X F, A- Fs - F{2 "f | FW - Fs - F(3

$ F{ "X F, A- Fs - F{2 F{ ) "( t FW | "{=

Page 9
Slow March My Home

                          

                    
                        
                    

Page 10
Slow Air Paddy's Green Shamrock Shores Trad. Arr. Ian Duncan

$HE Fr. s R C, | Fd o. c wj c, ! F/3 "N 2, F" i- c F{2 _{ R

$ ^x/ m i Fr. s R zM~ 0 P u x, R hU1 s Fo j 2!2 "] } (3 ( R
$ ^x/ m i Fr. s R zM~ 0 P u x, R hU1 s Fo j 2!2 "] } (3 ( |
$ Fr. s R C, | Fd o. c wj c, ! F/3 "N 2, F" i- c F{2 _{2

Page 11
Slow Air Samantha's Lullaby Arthur Gillies

$P: Fx/ m i Fp u/ o F/3 "N 2, F| "W F$2 [ gi F< R FM~ 0 g u x,.

$ Fx/ m i Fp u/ o F/3 "N 2, F| "W F$2 [ gi Fx/ My u xr. g 2] gs-=
$: {e zM~ 0 g Bi Fp u/ o F/3 "N 2, F| "W F$2 Fs 2u F< R FM~ 0 g u x,. % {e
$ zM~ 0 g Bi Fp u/ o F/3 "N 2, F| "W F$2 [ gi Fx/ My u xr. g 2] gs-=
$& Fx/ m i Fp u/ o F/3 "N 2, F| "W F$2 [ gi Fx/ My u xr. g 2] gs-

Page 12
Slow Air The Carles wi' the Breeks Traditional

                     

                     
                        
                      

Page 13
Song Air Thèid Mi Dhachaidh 'Crò Chinn t-Sàile Traditional

$PHE ) F$2 [ i p FN { yx/ m Fi p FN { FX gs p FN { F, t F^ N "(

$ FX gs p FN { yx/ m Fi p FN { F^ g g s F^ m , Fp i- 2] B{ "|
$ LU1 s Fo zM~ 0 o P Lx/ r Fg - F{ LU1 s Fo zQ0 , t F^ N "(
$ LU1 s Fo zM~ 0 o P Lx/ r Fg - F{ F^ g g s F^ m , Fp i- 2] B{2

Page 14
Slow Air Tiree Bridal Song Trad. Arr. John MacFadyen

$HE: F| If t F, *- Fl- a 2] B{ F| If t F, {e =L Q ], {e
$ L< R ], t vf, F[ "! gs = F, A- F( "X FX B{ _{=
$: {e L< R ], t vf, F[ "! x, t Fg , {d = =F , A, {e
$ L< R ], t vf, F[ "! gs = F, A- F( "X FX B{ _{=

Page 15
March Between the Don and the Dee Composed by Captain Stuart D Samson

                       

                        
                                 
                              
                        

Page 16
March Heather Grant of Strathyre P/M James MacGregor

                         

                       
                        
                      

Page 17
The Black Isle Retreat PM. Donald MacLeod

                          

                       
                          
                       

Page 18
March The Festival March R Ackroyd

                         
                        
                        
                       

Page 19
March The Sixth of June - 1944 Composed by Captain Stuart D Samson

                                       

                                       
                                        
                                        
                                            
                                           
                                     
                                       
Page 20
Retreat March Argylls Crossing the River Po R.H. Brown

                    

                  
                     
                    

Page 21
Retreat March Buzancy P/M John McLellan, Dunoon

                   

                 
                  
                  

Page 22
March Colin's Cattle Trad

              

                
             
               

Page 23
Retreat Dark Lowers the Night P/M J MacKay

                 

                   
                 
                   

Page 24
Retreat March MacGregor of Rora Traditional

                 

                   
                    
                   

Page 25
Retreat Shores of Argyll John McLellan, Dunoon

               

               
                
                

Page 26
Retreat March Stornoway Bay P/M Donald MacLeod

                 

                   
                    
                      
                    
                   

Page 27
Retreat March The Hawk That Swoops From On High Traditional

                 

                  
                  
                  

Page 28
Retreat March The Kilworth Hills G.S. McLennan

                

                
                  
                 
               
                
                   
                
Page 29
Retreat March The Lads of Argyll P/M John McLellan, Dunoon

                  

                    
                     
                    

Page 30
Retreat March The Stat Oil March P/M John D. Burgess

                   

                   
                     
                   

Page 31
Retreat March Torosay Castle P/M J Lawrie

                

                  
                     
                   
                     
                       
                
                     
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Strathspey Caledonian Society of London

                                   
                                  
                                     
                                   
                                   
                                         
                                      
                                          
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Strathspey Captain Colin Campbell P/M Donald MacLeod

                                 
                                     
                                   
                                        
                                           

Page 34
Captain Horne Strathspey

                             
                             
                            

Page 35
Strathspey Highland Harry Trad.

                              
                                 
                                   
                                 
                                

Page 36
John Roy Stewart Strathspey

                                  
                                
                                  
                               
                              
                            
                             

Page 37
Lady Loudon Strathspey William Gow

                                  
                                 
                                   
                                   
                                    
                                    
                                       
                                     
Page 38
Monymusk Strathspey

                                       
                                         
                                        

Page 39
The Braes O' Mar Strathspey

                                
                            

Page 40
The Campbeltown Kiltie Ball Strathspey J. McLellan

                              
                                  
                                 
                                 

Page 41
                              
                              
The Devil in the Kitchen Strathspey

                              

The Devil in the Kitchen Strathspey


                             
                             
                             
                            
                             
                             
                           
                                
                                
                                
Page 42
Strathspey The Duke of Gordon's Birthday Traditional

                             
                               
                            

Page 43
Strathspey The Spirits of Old Pulteney William Ross MBE

                                
                                     
                                 

Page 44
Jig Coppermill Studio Bruce Gandy

$HER: t F` r Ao F, = {d1 L` r Ao {d - Fx l 2! F` r Ao F, = {d - Fx r i M~ U u x,=

$HE: = {d X F` "` 2] Fr x R Lx r u Fl r u {d = Fr U ?R L` "` 2] {d - Fx r i M~ U u x,=
$HE: t F` r Ao F, = xr l ] Fl 2l Bi Fl r i uW | F` r Ao F, = xr l ] Fl r u {d =x,=
$HE: = U Lx R WW - LU x o Fx M~ FM{ FQ e L< R U Lx R WW - LU x o Fx r i M~ U u x,=

Page 45
Jig Cork Hill Trad

                    
                    
                       
                      
                       
                      
                       
                      
Page 46
Donald MacLennan's Tuning Phrase Jig P/M Donald MacLeod

                       
                   
                        
                    
                       
                   
                       
                   
Page 47
Donella Beaton Jig George Johnstone

                       
                    
                         
                     
                         
                    
                        
                     
Page 48
Jig The Goatherd and the Shepherd

                     

                    
                      
                      
                       
                     
                       
                     
Page 49
Jig Jimmy Ward's Jig Trad

                       
                        
                       
                       
                      
                      
                      
                     
Page 50
Jig The Handshaker Allan MacDonald

$HEP: F` i Bi F, = U Lo Ao M~ R o F` i o Ld R x LR ?R LU o i
$ F` i Bi F, = U Lo Ao zM~ FM{ FM{ U Lr Ao Fl o Fc l 2, "] E{2=
$: U Lc Bc Ld =U Lc Bc U M{ R Lx i Bi zQ e Lx i o Fx M{ u
$ U Lc Bc Ld =U Lc Bc U M{ FM{ U Lr Ao Fl o Fc l 2, "] E{2 =
$: F` "c Bc E{ X vf U ?R LU o i Fr M{ FM{ U Lr Ao Fl o Fc l 2, "]
$ F` "c Bc E{ X vf R ?R LU M{ FM{ U Lr Ao Fl o Fc l 2, "] E{2=
$: U Lc R Lx R Lc U Lu R Lr R Lc U M{ FM{ U Lr Ao x Fi o Fx M{ u
$ U Lc R Lx R Lc U Lu R LU M{ FM{ U Lr Ao Fl o Fc l 2, "] E{2=
Page 51
Jig The Kitchen Maid

$HEP: Ff I- Fx U M{ $ "$ 2! vf ` B! Ff I- M~ f Bc F` "` 2] y< -

$HE Ff I- Fx U M{ $ "$ 2! vf ` B! gs g F` "` 2] Ff I- y< -=
$HE: zQ0 @Q0 f "f 2c xr f Bc zQ0 @Q0 ` "` 2] y< -
$HE% zQ0 @Q0 f "f 2c xr f Bc gs g F` "` 2] Ff I- y< -=
$HE& zQ0 $ "$ 2! F` "` 2] Ff "f 2c gs g F` "` 2] Ff I- y< -
$HE: vf = xr f o Fv M~ 0 u xr f o vf = xr f o F` "f o y< -
$HE vf = xr f o Fv M~ 0 u xr f o Fj x/ i Fd M~ 0 c F` "f o y< -=
$HE: x, g F` "` 2] Ff =I Ff ` B! x, g F` "` 2] Ff I- y< -
$HE x, g F` "` 2] Ff =I Ff ` B! y< - Fx f Bc F` "` 2] y< -=
Page 52
Jig The Lady in the Bottle Traditional

                       
                     
                         
                      

Page 53
Jig The Panda Gordon Duncan

$HEP: Ff "$ 2! Fl 2$ "! r Fr Ao xr l c Ff l Bi F/ l 2, Ff l o xr l ]

$HE'Ff "$ 2! Fl 2$ "! r Fr Ao xr l c Ff l Bi xr l ] F` $ ", F{2=
$HE: LU r Ao Fr x R M~ r M{ U r Ao Ff l Bi F/ l 2, Ff l o xr l ]
$HE LU r Ao Fr x R M~ r M{ U r Ao Ff l Bi xr l ] F` $ ", F{2 =

Page 54
Jig The Piper's Wedding D. MacLeod

$HEP: = F{ t wl f i uW t 2{2 F{ t wl f i F< R ], R

$HE { t wl f i uW t 2{ e Lx l Bi Fr f Bc Fr l Bi Ms=
$HE: R x l Bi M~ l Bi Ff r Ao F{ R x l Bi M~ l Bi F< R ], R
$HE x l Bi M~ l Bi Ff r Ao F{ e Lx l Bi Fr f Bc Fr l Bi Ms=

Page 55
Captain C.R. Lumsden March P.M. G.S. McLennan

                       

                   
                         
                      
                     
                   
                        
                     
Page 56
March Cuil House P/M Neil Henderson, Dunoon

                        

                      
                          
                      
                       
                     
                   
                       
                   
                    
Page 57
Dovecote Park March J. Braidwood

                    

                 
                     
                  
                    
                    
                       
                    
Page 58
March Hills of Glenorchy Trad

                    

                 
                        
                    

Page 59
March Karen MacFadyen Iain MacFadyen

                      

                    
                       
                     
                     
                  
                       
                    
Page 60
March Leaving Port Askaig P/M Willie Ross

                   

                 
                
                
                    
                   
                 
                 
                  
                   
Page 61

Major John MacLennan March P.M. G.S. McLennan

                   

               
                     
              
               
                  
               
                      
               
               
Page 62
Murdo MacKenzie of Torridon March B. MacLeod

                       

                    
                       
                    
                    
                 
                  
                          
                       
                  
Page 63
March Queen Elizabeth's March

                        

                  
                      
                    
                    

Page 64
March The Steamboat

                      

                   
                      
                     

Page 65
Reel Bessie MacIntyre Wm MacLean

                                 
                               
                               
                                
                                 
                               
                                  
                                  
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Reel Captain Lachlan MacPhail of Tiree Peter MacFarquhar

                                 
                             
                                
                              
                                 
                               
                                         
                                   
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Crooked Bridge (An Drochaid Chluiteach) Reel Trad

                       
                       
                       
                       

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Dancing Feet Reel G.S MacLennan

                             
                             
                             
                             

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Reel John Morrison of Assynt House Peter R MacLeod

                                
                          
                              
                             
                         
                          
                                 
                                
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                               
                           
                               
                              

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McPhersons Reel Reel Gordon Duncan

                               
                           
                                
                           

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Megalomania Reel Mark Saul

                              
                            
                               
                            
                             
                            
                              
                               
                                
                             
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Pretty Marion Reel

                             
                             
                                
                                 
                             
                                  
                             
                               
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                                 
                                  
                                   
                                   
                              
                                
                                   
                                  
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Reel The Sound of Sleat D. MacKinnon

                         
                           
                          
                             
                           
                           

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Reel The High Road to Linton Arr. Gavin Stoddart

                             

                               
                               

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Reel The Piper of Drummond Traditional

                          
                          
                          

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Reel The Sheepwife

                           

                         
                              
                             
                            
                           
                             
                            
                        
                       
                        
                            
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 A Welcome for Patrick Struan Capt John MacLellan
I Urlar

                                            
                                            
                                 
II Thumb Variation

                     
                      
              
III Variation One Singling

                                              
                                             

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                               
IV Variation One Doubling

                                        

                                          
                            
V Taorluath Singling VI Taorluath Doubling

                        

23

                        

                
VII Crunluath Singling VIII Crunluath Doubling

                        

                        
                 Page 81
The Boat Tune
Ground

                               
                                  
                     
Variation 1 Singling

                        
                        
                
Variation 1 Doubling

                        

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                        
 
Taorluath Singling
              
                                 
                                 
  
Taorluath Doubling
                   
                         
                        
                
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Crunluath Singling

                                               

                                   
                      
Crunluath Doubling

                        
                        
                
Ground - First Line

                                 

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Lament for Alasdair MacDonnell of Glengarry

Ground. Hien o tra o hiho rodin, hio dro dre o hihio din, hio dro darodo hi harin

$H E : 6{2 V gq X+ 3f, Gy FX Id ;* g, 3W+ ^y FX If, >U F* 8y2 =

Hien dre hiha ra ra, che ha che ha he ha he ha, che ho che ho ha en ha en

$H E 6y ;* 6r Bq % ,q F* Fp F* Fp F: Fp F: Fp F* Fc F* Fc Fq 2x Fq 2x
He che ho en che a ho, dare e ha ve che lal ho, hio em ho en hihio din

$H E F: F) Fd 2x F* p Fd 9: ) Fq < F* =r 2p d FX+ 2& Fg, 2y 3U ^y

Variation 1 S. Hin en ha en ho en ho en, hio en hio en hin en hin en

$H E : F{ 2z Fs 2z Ff 2z Ff 2z FW 2z FW 2z F{ 2z F{ 2z =
Ha en ha en che en che en, he en he en che en che en

$H E Fs 2z Fs 2z F, Fz F, Fz F< Fz F< Fz F, Fz F, Fz
Ha en che en ha en ho en, hio en hio en hin en hin en

$H E Fs 2z F, Fz Fs 2z Ff 2z FW 2z FW 2z F{ 2z F{ 2z Page 85
Lament for Alasdair MacDonnell of Glengarry

Variation 1 D. Hin en ha ea ho eo ho eo, hio eo hio eo hin en hin en

$H E : F{ 2z Fs 2r Ff 2e Ff 2e
Ha ea ha ea che che che che,
FW 2V FW 2V F{ 2z F{ 2z =
he he he he che che che che

$H E Fs 2r Fs 2r F, F+ F, F+
Ha ea che che ha ea ho eo,
F< F; F< F; F, F+ F, F+
hio eo hio eo hin en hin en

$H E Fs 2r F, F+ Fs 2r Ff 2e FW 2V FW 2V F{ 2z F{ 2z
$H E : {f sf f f Wf Wf {f {f =
Taorluath. Hindarid hadarid hodarid hodarid, hiodarid hiodarid hindarid hindarid

$H E sf sf ,f ,f <f <f ,f ,f
Hadarid hadarid chedarid chedarid, hedarid hedarid chedarid chedarid

$H E sf ,f sf f Wf Wf {f {f
Hadarid chedarid hadarid hodarid, hiodarid hiodarid hindarid hindarid

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Lament for Alasdair MacDonnell of Glengarry

$H E : {i si fi fi Wi Wi {i {i =
Crunluath. Hinbandre habandre hobandre hobandre, hiobandre hiobandre hinbandre hinbandre

$H E si si ,i ,i <i <i ,i ,i
Habandre habandre chebandre chebandre, hebandre hebandre chebandre chebandre

$H E si ,i si fi Wi Wi {i F{ o,.
Habandre chebandre habandre hobandre, hiobandre hiobandre hinbandre hin bandre

Ground L1. Hien o tra o hiho rodin, hio dro dre o hihio din, hio dro darodo hi harin

$H E 6{2 V gq X+ 3f, Gy FX Id ;* g, 3W+ ^y FX If, >U F* 8y2

Page 87
Lament for Red Hector of the Battles
Ground

                                   
                          
                           
Variation

                                      

                               
                              
Ground

                                   
                          
                           
Page 88
Lament for Sir James MacDonald of the Isles
Ground

                              
                              
                    
Variation 1

                                        
                                          
                            
Taorluath

                                    
                                    
Page 89

Crunluath
                       
                                    
                                    
                        
Ground - First Line

                              

Page 90
MacDonald of Kinlochmoidart's Lament (No.1)
Ground

$HE: 3U ^{ FX * 6q X Ft- * 3U ^{ FX q 3V BU _U 3U ^{ FX * 6q X Ft- * 3U ^{ FX q F* 8y=

$HE F* t F, b L: - F< O 7U ^{ FX q 3V BU _U F* t F, b L: - F< O 7U ^{ FX q F* 8y
$HE F* t F, b L: - F< O 7U ^{ FX q 3V BU _U 3U ^{ FX * 6q X Ft- * 3U ^{ FX q F* 8y2
Variation 1 Singling

$HE: FW+ 2{ ) Fs- 2{ ) FW+ 2| s- 3V BW+ _U FW+ 2{ ) Fs- 2{ ) FW+ 2| s- F,. 8y=
$HE F,. F{ a L</ F{ N W+ 2| s- 3V BW+ _U F,. F{ a L</ F{ N W+ 2| s- F,. 8y
$HE F,. F{ a L</ F{ N W+ 2| s- 3V BW+ _U FW+ 2{ ) Fs- 2{ ) FW+ 2| s- F,. 8y
© Roddy MacLeod Piobaireachd

Page 91
Variation 1 Doubling

$HE: FW+ 2{ ) Fs- 2{ ) FW+ 2{ p FW+ 2( "T FW+ 2{ ) Fs- 2{ ) FW+ 2{ p F{ >x "{2 =
$HE F,. F{ a L</ F{ N W+ 2{ p FW+ 2( "T F,. F{ a L</ F{ N W+ 2{ p F{ >x "{2
$HE F,. F{ a L</ F{ N W+ 2{ p FW+ 2( "T FW+ 2{ ) Fs- 2{ ) FW+ 2{ p F{ >x "y
Taorluath Singling

$HE: FW+ >{2 ) Fs- ?{2 ) FW+ >| s- 3V BW+ _U FW+ >{2 ) Fs- ?{2 ) FW+ >| s- F,. 8y=
$HE F,. >{2 a L</ >{2 N W+ >| s- 3V BW+ _U F,. >{2 a L</ >{2 N W+ >| s- F,. 8y
$HE F,. >{2 a L</ >{2 N W+ >| s- 3V BW+ _U FW+ >{2 ) Fs- ?{2 ) FW+ >| s- F,. 8y
© Roddy MacLeod Piobaireachd

Page 92
Taorluath Doubling

$HE: FW+ >{2 ) Fs- ?{2 ) FW+ >{2 p FW+ >(3 "T FW+ >{2 ) Fs- ?{2 ) FW+ >{2 p F{2 >x "{2 =
$HE F,. >{2 a L</ >{2 N W+ >{2 p FW+ >(3 "T F,. >{2 a L</ >{2 N W+ >{2 p F{2 >x "{2
$HE F,. >{2 a L</ >{2 N W+ >{2 p FW+ >(3 "T FW+ >{2 ) Fs- ?{2 ) FW+ >{2 p F{2 >x "y
Crunluath Singling

$HE: FW o-. $ o Fs '-. $ o FW o-. |2 q 3V BW+ _U FW o-. $ o Fs '-. $ o FW o-. |2 q F,. 8y=
$HE F, o-. $ R L< o-. $ M{ W o-. |2 q 3V BW+ _U F, o-. $ R L< o-. $ M{ W o-. |2 q F,. 8y
$HE F, o-. $ R L< o-. $ M{ W o-. |2 q 3V BW+ _U FW o-. $ o Fs '- $ o FW o-. |2 q F,. 8 y
© Roddy MacLeod Piobaireachd

Page 93
Crunluath Doubling

$HE: FW o-. $ o Fs '-. $ o FW o-. $ i FW o-. / "] FW o-. $ o Fs '-. $ o FW o-. $ i F{ o-. $ "!=
$HE F, o-. $ R L< o-. $ M{ W o-. $ i FW o-. / "] F, o-. $ R L< o-. $ M{ W o-. $ i F{ o-. $ "!
$HE F, o-. $ R L< o-. $ M{ W o-. $ i FW o-. / "] FW o-. $ o Fs '-. $ o FW o-. $ i F{ o-. | "y
Ground - First Line

$HE 3U ^{ FX * 6q X Ft- * 3U ^{ FX q 3V BU _U 3U ^{ FX * 6q X Ft- * 3U ^{ FX q F* 8y

© Roddy MacLeod Piobaireachd

Page 94
March Happy We've A' Been Together Trad.

                    

                 
                 
                

Page 95
Highland Laddie March Traditional

                    

                   
                    
                     

Footer

Page 96
Invergordon's Welcome to H.M. Queen Elizabeth II March PM John D. Burgess

                               
                         
                                 
                           
                           
                              
                       
                                   
Footer

                             

                        
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March Major David Manson at Clachantrushal P/M Donald MacLean

                           

                      
                               
                         
                            
                       
                                
                            
                         
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Mrs Donald MacLean March Donald MacLean

                             
                       
                           
                       
                           
                     
                             
                          Footer

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Mrs Mary Anderson of Lochranza March Duncan Johnstone

                       
                  
                         
                   
                         
                   
                           
                     Footer

Page 100
2/4 March Muir of Ord G.S. MacLennan

                 

                
                  
                  
                
                
                    
                  
Page 101
March Pipe Major Ronald McCallum, MBE P/M Peter C. McCallum

                                  

                         
                                  
                            
                                    
                            
                                  
                            
Page 102
The Desert March March Parts 1 & 2 J. Mauchline; Parts 3 &4 PM Angus MacDonald

                     
                  
                    
                 
                            
                      
                          
                        Footer

                    

Page 103
The Glenfinnan Highland Gathering March Ronald Lawrie

                             

                     
                                  
                         
                        
                            
                       
                                
                        
                        
Page 104
Willie McCallum Senior's March William McCallum Jnr.

                                 

                           
                                 
                        
                           
                               
                              
                                     
                            
                           

Page 105
Hornpipe Calum Beag 2nd, 3rd & 4th parts by P/M D MacLeod

$HEJ: zR -3 "O 2"2 \ Fd, "O 2"2 \ Fe "^+ Fe m. yx Fp. t Fv/ \ j] vd, \ B^+ "b Fe "^+ Fe m. yx Fp. t
$HE zM~ @M| 0 Q Lv/ q Fb m. Fv/ q Ft My 0 ^x Fp. b F"2 "O 2"2 "b u` 2"2 \ vf 2! _|=
$HE: {e zM~ @M| 0 Q Lv/ q Fb m. Fv/ q Ft My 0 ^x Fp. t zM~ r] vd, \ B^+ "b Fe "^+ Fe m. yx Fp. t
$HE M| 0 t Fp. t Fd, "O 2"2 "b M| 0 q Ft My 0 ^x Fp. b F"2 "O 2"2 "b u` 2"2 \ vf 2! _|=
$HE: M| 0 t Fp. O E! Fd, "O 2"2 "b Fp. O E! xr Fe m. Fv/ \ j] vd, \ B^+ "b Fv/ \ j] yx Fp. t
$HE M| 0 n Ap. Mz ^v/ n Fv/ Q M| 0 q Ft My 0 ^x Fp. b F"2 "O 2"2 "b u` 2"2 \ vf 2! _|=
$HE: {e M| 0 n Ap. Mz ^v/ q Ft My 0 "2 M} Q My 0 ^x Fp. t zM~ r] vd, \ B^+ "b Fv/ \ j] yx Fp. t
$HE M| 0 t Fp. t Fd, "O 2"2 "b M| 0 # "b My 0 ^x Fp. b F"2 "O 2"2 "b u` 2"2 \ vf 2! _|=
Page 106
Hornpipe Chasing Shadows Philip Greer

$HEJ: Fj m Fv N E! F" j <j N F^ - F- "* F- S Lv m Fv " Fj s F" j Fv g Fp N E! F" S Lv m

$HE'Fv N E! F" j <j N F^ - F- "* F- S Lv m Fv N E! Fp N E! F" S Lv m gt=
$HE: Fj m Fv N E! M| g li S ^ Fj P L^ S Lv m Fv " Fj s F" j Fv g Fp N E! F" S Lv m
$HE% Fv N E! M| g li S ^ Fj P L^ S Lv m Fv N E! Fp N E! F" S Lv m gt=
$HE: Fj m Fv N E! F" v Fv m Fp " "d m F" "d xp N Fv N E! Fv " Fj s Fp N E! F$ Fj m
$HE Fv N E! F" v Fv m Fp " "d m F" "d xp N Fv N E! Fp N E! F" S Lv m gt=
$HE: Fv P M| j Fv My " M| v g S ^ Fj P L^ j S m Fv " Fj s F" v Fp g % Fp N E! F" S Lv P
$HE M| j Fv My " M| v g S ^ Fj P L^ j S m Fv N E! Fp N E! F" S Lv m gt=
$HE*Fp N E! F" S Lv m Fv N E! F" j <j N F^ - F- "* F- S Lv m Fv N E! Fp N E! F" S Lv m gt
Page 107
Hornpipe Donald MacLeod J A Barrie

$HEJ: F_ g- xr ! F-3 "O 2"2 "\ F_ ""2 F_ g- xr F_ g- xr Ap. t Fp. k F\ g- xr F! _$ F_ g-

$HE xr ! F-3 "O 2"2 "\ F_ ""2 F_ g- xr F_ g- Fp. Mz FM| 0 Q Fp. k F\ m. F{ _|=
$HE: F_ g- xr M{ FM| 0 Q Lp. h Fp. Mz FM| 0 Q ]r F_ g- xr Ap. t Fp. k F\ g- xr F! _$ F_ g-
$HE xr M{ FM| 0 Q Lp. h Fp. Mz FM| 0 Q ]r F_ g- Fp. Mz FM| 0 Q Fp. k F\ m. F{ _|=
$HE: F_ g- xr Ao Fp. h F^+ n Ap. k Bh 2[+ gl F_ g- xr Ap. t Fp. k F\ g- xr F! _$ F_ g-
$HE xr Ao Fp. h F^+ n Ap. k Bh 2[+ gl F_ g- Fp. Mz FM| 0 Q Fp. k F\ m. F{ _|=
$HE: F_ g- xr M| 0 n LS1 n Fj- \ Fp. Mz FM| 0 n {U L_ g- xr Ap. t Fp. k F\ g- xr F! _$ F_ g-
$HE xr M| 0 n LS1 n Fj- \ Fp. Mz FM| 0 n {U L_ g- Fp. Mz FM| 0 Q Fp. k F\ m. F{ _|=
Page 108
Hornpipe Fag a Phiob Bhochd Allan MacDonald

$HEJ: F"2 \ Fj- O E! Fj- n Fv/ h Fp. \ j] Fp. t LS1 n Fv/ Mz @M| 0 Q M| 0 Q Lp. b wj- b Fj- n Fv/ h F^+ b
$ Fj- O E! Fj- n Fv/ h Fp. \ j] Fp. t LS1 n Fv/ Mz @M| 0 Q M| 0 Q Lp. b wj- O Fv/ n gt=
$: F"2 \ "d, O E! Fd, O Fp. b Fj- O E! Fj- O Fv/ h Fp. \ j] Fp. t LS1 n Fv/ Mz @M| 0 Q M| 0 Q Lp. b
$ Fj- O E! Fj- O Fv/ h Fp. \ j] Fp. t LS1 n Fv/ Mz @M| 0 Q M| 0 Q Lp. b wj- O Fv/ n gt=

Page 109
Hornpipe Jim Tweedie's Sea Legs J. Allan MacGee

                           
                         
                         
                       
                                 
                            
                             
                           
Page 110
                          
                        
                                 
                            
                                   
                               

Page 111
Hornpipe The Golden Pheasant Stuart D Samson MBE

                                   
                            
                                 
                             
                                
                         
                              
                          
Page 112
Hornpipe The Merry Macs Gordon Walker

$HEJ: Fj- O Fj- t M| 0 O Fd, n LS1 O j` 2! F"2 h Fd, h u^+ O j] Fj- O ]i 'M| 0 t Fp. h xr M| 0 O
$HE Fj- t M| 0 O Fd, n LS1 O j` 2! F"2 h Fd, h u^+ O Fj- t M| 0 O Fd, n LS0 O kc ]t=
$HE: Fj- O u^+ O _! LS1 n vd, O Fj- O ]i M| 0 t Fj- O u^+ O j] Fj- O ]i M| 0 t Fp. h xr%Fj- O
$HE u^+ O _! LS1 n vd, O Fj- O ]i M| 0 t Fj- O u^+ O Fj- t M| 0 O Fd, n LS0 O kc ]t=
$HE Fj- \ E$ Fj- O u^+ O Fj- O j` 2! _$ Fj- n Fx Fj- t >v/ O My 0 t M| 0 t Fp. h xr Fj- \
$HE E$ Fj- O u^+ O Fj- O j` 2! F"2 h Fd, h u^+ O Fj- t M| 0 O Fd, n LS0 O kc ]l Fj- \
$HE$HE: E$zM~ j-Fj- Mz O @M|u^+0 b MO| @MFj-|4 @MOy j`^+ My 2!@M| 0 _$\ E$Fj- F"2n h kxu^+Fj-O j]t >v/Fj- OO My]i0 t M| 0M| t0 Fp.t Fp.h xp.h OxrF pFj-v4 \P
$HE zME$~ j- Fj-Mz @MO | 0u^+b M|O @MFj-|4 @MOy ^+j`My 2!@M| 0 F"2\ E$h Fd,F"2 h u^+ O Fj- t t M| M0| 0O OFd,Fd,n nLS0 LS0O kc%Fj-
O kc nFj-Fv/n Q&]t= Fv/ Q
Page 113
Hornpipe The Straloch Turkeys Gordon Duncan

                       

                        
                       
                               
                          
                            
                                  
                          
Page 114
Hornpipe The Train Journey North T. Anderson

                              
                               
                             
                               
                           
                             
                           
                                
Page 115
Hornpipe Willie's Brogues Angus Lawrie

                             
                       
                             
                        

Page 116
 Exercises Required for SCQF Level 2
1. The scale

$ ( {
2. The scale to F with a G gracenote
W f s , < d Q
$ ( F{ FW Ff Fs F, F<
$ <
3. The scale to C with a D gracenote
F< F, Fs Ff FW F{ F(
$ ( "(
4. The scale to D with an E gracenote
"W "{ "f "f "W "{ "(
$ ( 2( 2{ 2W 2f
5. G, D, E gracenote groupings
2s 2s 2f 2W 2{ 2(
$ F$ "! 2! Ff "c 2c F` "] 2] Ff "c 2c F$ "! 2! Ff "c 2c F` "] 2] F(3
Page 117
$ F$ "! 2!
6. All strikes
Ff "c 2c F` "] 2] Ff "c 2c F$ "! 2! F` "] 2] F/ ", 2, F{3
$ M~ FM{ U ?R x 2u r
7. Thumb or High A gracenotes
Ao l Bi f Bc ` B] $ B! ` B! f B! l <i
$ e Ld =Ld - Ld t Ld g Ld X Ld | Ld ) Ld
$ e L<
8. The Throw on D from Low A
e L, e Ls e Lf e LW e L{ e L(
$ | gs | gs
9. Doublings on High A, High G, F, E, D, C, and B from Low A
| gs | gs | gs
$ | zQ | {d | y< | x, | ws | vf | uW

Page 118
 Exercises Required for SCQF Level 3
1.a. Low G Doubling

$ | }(
1.b. Low A Doubling
X }( g }( t }( - }( = }( e F( R `(
$ )
1.c. B Doubling
|{ X |{ g |{ t |{ - |{ =|{ e E{ R `{
$ )
1.d. C Doubling
uW | uW g uW t uW - uW = uW e @W R ZW
$ )
1.e. D Doubling
vf | vf X vf t vf - vf = vf e Af R [f
$ )
1.f. E Doubling
ws | ws X ws g ws - ws = ws e Bs R \s
$ ) x, | x, X x, g x, t x, =x, e C, R ],
Page 119
1.g. F Doubling

$ ) y< | y< X
1.h. High G Doubling
y< g y< t y< - y< e D< R ^<
$ ) {d | {d X
1.i. High A Doubling
{d g {d t {d - {d ={d R ?d
$ ) zQ | zQ X
2. Throw on D from each note of the scale
zQ g zQ t zQ - zQ =zQ e zQ
$ | gs X gs
3.a. Grips (regular)
g gs - gs = gs e gs R gs
$ Q IR d Ie < I= , I- Q IR d Ie < I= , I-
$ X If | IW | If | I, | I, | If | IW | I{
Page 120
3.b. Grips with B gracenote (also called 'rodin')

$ s J| s
4.a. Regular birl
J| f J| f J| s J| f J| s J| f J|
$ Q S{ d
4.b. Birl with G gracenote
S{ < S{ , S{ s S{ f S{ W S{ ( S{
$ < E{ , E{ s E{ f E{ W
5. Taorluaths to Low A from each note of the scale (including taorluaths from D with a B gracenote)
E{ ( E{
$ F{ >| FW
6. Tachums
>| Ff >| Fs ?| F, >| F< >| Ld >| FQ >|
$ Fd "!2 Fd "!2 F^ ",3 F^ ",3 Fd "!2 Fd "!2 F^ ",3 F^ ",3

Page 121
 Exercises Required for SCQF Level 4
1.a. Low G Doubling

$ | }(
1.b. Low A Doubling
X }( g }( t }( - }( = }( e F( R `(
$ )
1.c. B Doubling
|{ X |{ g |{ t |{ - |{ =|{ e E{ R `{
$ )
1.d. C Doubling
uW | uW g uW t uW - uW = uW e @W R ZW
$ )
1.e. D Doubling
vf | vf X vf t vf - vf = vf e Af R [f
$ )
1.f. E Doubling
ws | ws X ws g ws - ws = ws e Bs R \s
$ ) x, | x, X x, g x, t x, =x, e C, R ],
Page 122
1.g. F Doubling

$ ) y< | y< X
1.h. High G Doubling
y< g y< t y< - y< e D< R ^<
$ ) {d | {d X
1.i. High A Doubling
{d g {d t {d - {d ={d R ?d
$ ) zQ | zQ X
2. Throw on D from each note of the scale
zQ g zQ t zQ - zQ =zQ e zQ
$ | gs X gs
3.a. Grips (regular)
g gs - gs = gs e gs R gs
$ Q IR d Ie < I= , I- Q IR d Ie < I= , I-
$ X If | IW | If | I, | I, | If | IW | I{
Page 123
3.b. Grips with B gracenote (also called 'rodin')

$ s J| s
4.a. Regular birl
J| f J| f J| s J| f J| s J| f J|
$ Q S{ d
4.b. Birl with G gracenote
S{ < S{ , S{ s S{ f S{ W S{ ( S{
$ < E{ , E{ s E{ f E{ W
5. Taorluaths to Low A from each note of the scale (including taorluaths from D with a B gracenote)
E{ ( E{
$ F{ >| FW
6. Tachums
>| Ff >| Fs ?| F, >| F< >| Ld >| FQ >|
$ Fd "!2 Fd "!2 F^ ",3 F^ ",3 Fd "!2 Fd "!2
7. C doublings to Low A and B doublings to Low G with E gracenote, as used in Strathspey playing
F^ ",3 F^ ",3
$ vd 2!2 vd 2!2 u^ 2,3 u^ 2,3 vd 2!2 vd 2!2 u^ 2,3 u^ 2,3
Page 124
 Additional Useful Exercises
1.a. Crossing Noises - these groups of notes can also be played in reverse

$ / ] / ] / c / c / i / i / o / o
$
1.b.
/ u / u / R / R / M{ / M{ / o / o
$
1.c.
$ c $ c $ i $ i $ u $ u $ R $ R $ M{ $ M{
$ ` c ` c ` i ` i ` o ` o
$
1.d.
` u ` u ` R ` R ` M{ ` M{
$ f o f o f u f u f R f R f M{ f M{
Page 125
1.e.

$
1.f.
l l o o l u l u l R l R l M{ l M{
$ r r
2.a. Gracenotes
R R r
M{ r M{ r R r R r M{ r M{
$ F/ F` ! , F$] Ff ! F` c Fl ] Ff i Fr
c
$ Fl Fx o i Fri Ff o Fl c F` i Ff ] F$
c
$
2.b.
F` ! F/ ] F1
$
2.c.
/ "! / "] / "! / "c $ "] $ "c $ "] $ "c
$ / 2! / 2! / 2] / 2] $ 2] $ 2] $ 2c $ 2c
Page 126
3. Tachums

$ F$2 ^ Fa "!2 F$2 ^ Fa "!2 F/3 " F[ ",3 F/3 " F[ ",3
$
4. GDE
Fl- d F[ ",3 Fl- d F[ ",3 Fr. j Fa "!2 Fr. j Fa "!2
$ F/3 "* 2,3 "[ F/3 "* 2,3 "[ F$2 "N 2!2 "[ F$2 "N 2!2 "a
$ F`+ "[ 2]+ "a F`+ "[ 2]+ g Ff, "a 2c, g Ff, "a 2c, [

Page 127
 Piobaireachd Exercises
Em En O O A E Ve Vi I

$ ( {
Him Hin
W Hio
f Ho
s Q ,
Ha
< Che
d He

$ F( F{
Em
FW Ff Fs F, F< Ld
En Eo Eo Ea

$ 2( Dam
2{ 2W Dan
2f 2s To Do

$ "( Hi Em Hi
"{ En
"W "f Hi Hio Hi Ho Hi A

$ 6(Hi Ho Ro Do
6{
Hi Ha Ra
3W Ra
3f Che
6sRe De He Re Re Hi Ri Ri

$ 3 ^ B]+ _ W 6 j Bi- A s F p Ao. ` , F v >u/ d < L S >R1 d d

Page 128
 Hi Harin Hi Harin Hi Harin Hi Harin

O Din O Din Hi Hio Din Hi Ho Din Che Lal Ho Din

Him Tra Hin Tra Hio Tra Ho Tra Ha Tra Che Tra He Tra Hi Tra I Tra

Him Dre Hin Dre Hio Dre Ho Dre Ha Dre Che Dre He Edre Hi Edre I Edre

Him Dare Hin Dare Hio Dare Ho Dare Ha Dare Che Dare He Dare Hi Vedare I Ve-

Em Bare En Bare O Bare O Bare A Bare E Dari Ve Dari I Dari

Page 129
 Hin Bain Hin Bain Hio Tro Hio Tro Ho Dro Ho Dro Ha Deda Ha Deda Ha Rode Ha

Him Bare Hin Bare Hio Bare Ho Bare Ha Bare Che Bare He Bare Hi Bare I Bare

Ha Rodin Ha Rodin Ho Rodin Ho Rodin Ha Rodin Ho Rodin Ha Rodin Ho Rodin

Ha Darodo Ha Darodo Ho Darodo Ho Darodo Ha Darodo Ho Darodo Ha

Him Darid Him Darid Hin Darid Hio Darid Ho Darid Ha Darid Che Darid He Darid Hi Darid I Darid

Hio Tro Eo Hio Tro Eo Ho Dro Eo Ho Dro Eo Hio Tra Eo Hio Tra Eo

Page 130
Him ba bem To Him Ba Bem Do Him Ba Bem A Him Ba Bem E Him Ba Bem Ve Him Ba Bem Vi Him Ba Bem I

Hin Da En To Hin Da En Do Hin Da En A Hin Da En E Hin Da En Ve Hin Da En Vi Hin Da En I

Hio To Eo Eo Hio To Eo A Hio To Eo E Hio To Eo Ve Hio To Eo Vi Hio To Eo I

Him Dan Dre Him Dan Dre Hin Bandre Hio Bandre Ho Bandre

Ha Bandre Che Bandre He Bandre Hi Bandre I Bandre

Him Bandre En To Ho Bandre En Do Ha Bandre En Do Hio Bandre Em To Him Bandre En Dan

Page 131
Him To Dre Him Do Dre Him A Dre Hin To Dre Hin Do Dre Hin A Dre Hio Do Dre Hio A

Hio Tro Dre Hio Tro Dre Ho Dro Dre Ho Dro Dre Hio Tra Dre Hio Tra Dre

Page 132
 NATIONAL PROGRESSION AWARD
SCOTTISH BAGPIPES (PRACTICE CHANTER)
SCQF Level 2 (12 SCQF Credit Points)
[Former PDQB Level 1 Practice Chanter]
SYLLABUS

1. Maintenance
Candidates must demonstrate an understanding of the following:

Dismantling the Practice Chanter

Cleaning and drying the Practice Chanter
Correct hemping of the Practice Chanter

2. Practical
Candidates must demonstrate competence in the following:

Exercises:

(1) The scale

(2) The scale to F with a G gracenote
(3) The scale to C with a D gracenote
(4) The scale to D with an E gracenote
(5) G,D,E gracenote groupings
(6) All strikes
(7) Thumb or High A gracenote
(8) The Throw on D from Low A
(9) Doublings on High A, High G, F, E, D, C, and B from Low A
(10) Basic monotone exercises in Simple Time

Tunes:

Two tunes played from memory. The music is to be presented to the Assessor and played in accordance with the written score. The music does not have to be
written out by the candidate.

The tunes submitted must incorporate some of the embellishments from the exercises listed in section a.

3. Theory
Candidates must be able to:

a. Name all notes and note values (duration)

b. Demonstrate the correct placement of notes on the stave
c. Demonstrate an understanding of what dotted and cut notes
have on the note duration
d. Correctly write a treble clef on the stave
e. Understand the purpose of a bar line
f. Write out 4 bars from a tune with a 24 time signature by
copying onto manuscript paper from set music provided.

Page 133
 NATIONAL PROGRESSION AWARD
SCOTTISH BAGPIPES (PRACTICE CHANTER)
SCQF Level 3 (12 SCQF Credit Points)
[Former PDQB Level 2 Practice Chanter]
SYLLABUS
1. Maintenance
Candidates must demonstrate an understanding of the following:

a. Dismantling the Practice Chanter

b. Cleaning and drying the Practice Chanter
c. Correct hemping of the Practice Chanter
d. Weakening and strengthening a Practice Chanter reed
e. Sharpen and flatten the Practice Chanter pitch

2 Practical
On the Practice Chanter, candidates must demonstrate competence in the following:

a. Exercises:

(1) All doublings (Low G to High A), from any note of the scale
(2) Throw on D from each note of the scale
(3) Grips (including grips with a B gracenote)
(4) Birl and birl with a G gracenote from each note of the scale
(5) Taorluaths to Low A from each note of the scale (including taorluaths from D with a B gracenote)
(6) Tachums
(7) Basic monotone exercises in Simple and Compound Time

b. Tunes:

On the Practice Chanter, five tunes to be played from memory. At least one tune should be in Compound Time. The music is to be presented to the Assessor and played
in accordance with the written score. The music does not have to be written out by the candidate.

The tunes submitted must incorporate some of the embellishments from the exercises listed in section a.
.
3. Theory
Candidates must be able to:

a. Understand Simple Time rhythms

b. Explain what a Time Signature is
c. Place bar lines according to a Time Signature
d. Explain what a treble clef is
e. Identify the Time Signature from a piece of music presented
by the Assessor
f. Write out all doublings and embellishments in section 2a.
g. Write out 8 bars of a Simple Time tune from memory.
The tune is to be selected from those submitted by the
candidate for the practical section
h. Be able to draw a note value table and
understand relative note durations Page 134
 NATIONAL PROGRESSION AWARD
SCOTTISH BAGPIPES
SCQF Level 4 (18 SCQF Credit Points)
[Former PDQB Level 2 Bagpipes]

SYLLABUS

1. Maintenance
Candidates must demonstrate an understanding of the following:

a. Naming all of the parts of a Bagpipe

b. How to properly replace and remove the Bagpipe Chanter
c. How to properly replace and remove the Drones
d. Correct hemping/sealing of Bagpipe joints
e. How to correctly tie on and space the Drone cords.

Practical
On the Practice Chanter, candidates must demonstrate competence in the following;

a. Exercises

(1) All doublings (low G to High A), from any note of the scale
(2) Throw on D from each note of the scale
(3) Grips (including grips with a B gracenote)
(4) Birl and Birl with a G gracenote from each note of the scale
(5) Taorluaths to Low A from each note of the scale (including Taorluaths from D with a B gracenote)
(6) Tachums
(7) C doublings to Low A and B doublings to Low G with E gracenote as used in Strathspey playing ( Round movement )
(8) Basic monotone exercises in Simple and Compound Time

b. Tunes:

Candidates submit five tunes comprising:

(1) 2 parts of a Slow Air

(2) 2 parts of a March in 3/ 4 or 4/4 Time
(3) 2 parts of a March in 6/8 or 9/8 Time
(4) 2 parts of a Strathspey
(5) 2 parts of a Reel

The music is to be presented to the Assessor and played on the Bagpipe in accordance with the written score. The music does not have to be written out by the candidate. The
tunes submitted must incorporate some of the embellishments from the exercises listed in section a.

Page 135
3. Theory
Candidates must be able to:

a. Understand Simple time rhythms

b. Explain what a Time Signature is
c. Place bar lines according to a Time Signature
d. Explain what a treble clef is
e. Identify the Time Signature from a piece of music presented by the Assessor
f. Write out all doublings and embellishments in section 2.a.
g. Write out 8 bars of a Simple Time tune from memory. The tune is to be selected from those submitted by the candidate for the practical section
h. Be able to draw a note value table and understand relative note durations

Page 136
 NATIONAL PROGRESSION AWARD
SCOTTISH BAGPIPES
SCQF Level 5 (18 SCQF Credit Points)
[Former PDQB Level 3 Piping]

SYLLABUS

1. Maintenance
Candidates must demonstrate a knowledge and understanding of the following:

a. Removing the Pipe Chanter from the stock

b. Cleaning and drying the Bagpipes
c. Correct hemping/sealing of Bagpipe joints
d. Testing for airtightness of the Bagpipes, including seasoning as appropriate
e. Different types of Drone reeds
f. Handling reeds and securing them in the Chanter/Drone reed seat. Includes a practical demonstration.
g. Ensuring that the Bagpipe is an appropriate fit for the Piper, e.g. correct size/spread/fit of the bag, bag cover, blow stick, cords/drone spacing.

2. Practical
Candidates must demonstrate competence in the following:

a. Monotone Exercises

(1) Tap out the rhythm of Simple and Compound Monotone exercises

b. Tunes (on the Bagpipe)

Candidates submit tunes comprising:

(1) 2 parts of a Slow Air

(2) 4 parts of a March in Simple Time
(3) 4 parts of a March in Compound Time
(4) 4 parts of a Strathspey
(5) 4 parts of a Reel
(6) 4 parts of a Hornpipe
(7) 4 parts of a Jig
(8) One Ground of a Piobaireachd and one variation singling and doubling

Candidates will be expected to make a reasonable attempt at tuning their Drones and be able to explain the basic principles of Drone tuning.
Candidates will also be assessed on Marching and Deportment.

Page 137
3. Theory
Candidates must be able to:

a. Write out Monotone Exercises in Simple and Compound Time

b. Write out 8 bars of a 6/8 March from memory
c. Write out 4 bars of either a Strathspey or a Reel from memory
d. Explain the purpose of a Leger Line
e. Draw out the Great Staff and show the pitch of the Tenor Drone, bass drone, and all the notes in the Bagpipe scale
f. Sight reading of a set piece (on the Practice Chanter)

Page 138
 NATIONAL PROGRESSION AWARD
SCOTTISH BAGPIPES
SCQF Level 6 (18 SCQF Credit Points)
[Former PDQB Level 4 Piping]

SYLLABUS

1. Maintenance
Candidates must demonstrate a knowledge and understanding of the following:

a. Knowledge required to tie in a stock

b. Variety of materials used in bag making
c. Fitting a simple leather valve to the blowstick and how various water traps are fitted and work
d. Setting a Chanter reed to achieve a good and reasonably true scale using tape and other means as necessary
e. Fitting, tuning, and handling cane and synthetic Drone reeds and bridles to achieve correct pitch and strength

2. Practical
Candidates must demonstrate competence in the following:

a. Exercises on the Practice Chanter

(1) The student should have a firm grasp of all the technique required to play light music and must correctly demonstrate all of the technique required to play
Piobaireachd as follows:

(a) hiharin
(b) dres and edres
(c) dare and vedare
(d) double echoes on B, D, E, F, and High G
(e) harodin/horodin
(f) darodo
(g) taorluath
(h) taorluath a mach
(i) standard crunluath
(j) crunluath breabach
(k) crunluath fosgailte
(l) crunluath a mach

b. Monotone Exercises (Each exercise will contain rests and incomplete bars)

(1) Tap out the rhythm of any of the following:

(a) Simple Duple time

(b) Simple Quadruple time
(c) Cut Common time
(d) Compound Duple time

Page 139
 c. Bagpipe

The candidate must submit the following tunes:

(1) Two competition type 24 Marches

(2) Two 68 Marches of four parts
(3) Two competition type Strathspeys of four or more parts
(4) Two competition type Reels of four or more parts
(5) Two competition type Hornpipes of four or more parts
(6) Two competition type Jigs of four or more parts
(7) One Piobaireachd which includes the taorluath and crunluath variations

Candidates will be expected to set the Chanter and Drones accurately.

Candidates will also be assessed on Marching and Deportment.

3. Theory

Candidates must demonstrate the ability to:

a. Write canntaireachd equivalents of the Piobaireachd movements required for this certificate
b. Write movements for light music and Piobaireachd on the stave
c. Understand basic Piobaireachd construction and primary Piobaireachd classification
d. Write out Monotone Exercises in various time signatures to include the use of two types of rest.
e. Understand sound production and measurement
f. Sight read a set piece
g. Write from memory one part (8 bars) of each of the following tune types:

(1) Strathspey
(2) Reel
(3) Jig

Page 140
 PROFESSIONAL DEVELOPMENT AWARD
SCOTTISH BAGPIPES
SCQF Level 7 (18 SCQF Credit Points)
[Former PDQB Level 5 Piping]

SYLLABUS

1. Maintenance
a. Candidates must be prepared to answer questions on maintenance at any previous certification level.

b. Candidates must be able to describe all steps required to put a set of Bagpipes into good playing order, and to maintain them in that condition thereafter.

2. Practical

a. On the Practice Chanter: Sight read from a set piece equivalent in standard required for the practical examination

b. Light Music (Ceol Beag)

Candidates are to submit four tunes of each of the following:

(1) Competition March (minimum 4 parts)

(2) Competition Strathspey (minimum 4 parts)
(3) Competition Reel (minimum 4 parts)
(4) Competition Hornpipe (minimum 4 parts)
(5) Competition Jig (minimum 4 parts)

The Assessor is to select one tune from each category for the candidate to play.
Candidates will be expected to tune their own Drones to a well-balanced Chanter and be capable of blowing a steady tone.
Candidates will also be assessed on Marching and Deportment.

c. Piobaireachd (Ceol Mor)

Candidates are to submit four Piobaireachds. One each of the following type:

(1) Standard Crunluath

(2) Crunluath Breabach
(3) Crunluath Fosgailte
(4) Crunluath a Mach

The Assessor is to select one Piobaireachd for the candidate to play in its entirety and may select additional tunes or parts thereof at the Assessor’s discretion.

Page 141
3. Theory and History
Candidates must be able to:

a. Answer questions on theory from any of the previous certification levels

b. Understand the difference between relative and absolute pitch
c. Demonstrate a knowledge of the three Highland Bagpipe pentatonic scales
d. Compose harmony to a set piece of music
e. Understand how the Bagpipe scale relates to the Western Major scale
f. Demonstrate a knowledge of the tones and semitones used in these scales
g. Write the first line of a Piobaireachd ground on a stave
h. State the requirements and the format for the following dances:

(1) Highland Fling

(2) Sean Truibhas
(3) Sword Dance
(4) Sailors Hornpipe
(5) Irish Jig

i. Write a short essay of not more than 500 words selected from one of the following topics:

Solo competition system

The Pipe Band movement
A famous piper and his/her contribution to Piping
Present day piping organisations and their contribution to piping

Page 142
 PROFESSIONAL DEVELOPMENT AWARD
SCOTTISH BAGPIPES
SCQF Level 8 (18 SCQF Credit Points)
[Former PDQB Level 6 Piping]

SYLLABUS

1. Maintenance
Candidates who do not hold a SCQF Level 7 Certificate will be required to answer all maintenance questions in the SCQF Level 7 Certificate syllabus.

2. Practical Light Music (Ceol Beag)

Candidates are to submit six tunes of each of the following:

a. Competition March (minimum 4 parts)

b. Competition Strathspey (minimum 4 parts)
c. Competition Reel (minimum 4 parts)
d. Competition Jig (minimum 4 parts)

The Assessor is to select two tunes from each category for the candidate to play.
Candidates will be expected to tune their own Drones to a well-balanced Chanter and be capable of blowing a steady tone.
Candidates will also be assessed on Marching and Deportment.

3 Practical Piobaireachd (Ceol Mor)

Candidates are to submit six Piobaireachds. The selection should include the following varieties of crunluath:

a. Standard Crunluath
b. Crunluath Breabach
c. Crunluath Fosgailte
d. Crunluath A Mach

The Assessor is to select one Piobaireachd for the candidate to play in its entirety and may select additional tunes or parts thereof at the Assessor’s discretion.

Page 143
4. Theory
Candidates must be able to:

Write from memory four parts of one of the tunes submitted at Para. 2.
Write four bars of a:

(1) Dithis Doubling

(1) Suibhal Doubling
(2) Crunluath Breabach or Fosgailte Doubling
(3) Crunluath a Mach

All movements are to be written out in full. No abbreviations are permitted.

Write all Piobaireachd movements.

Demonstrate their knowledge of the construction and classification of the Piobaireachd.
Write out in Nether Lorn Canntaireachd the notes of the following scales:

Plain
G gracenote
E gracenote
D gracenote

f. Translate a passage of Piobaireachd staff notation into Nether Lorn Canntaireachd.

5. History of Piping

Candidates must write an essay of 1000 words minimum on their chosen subject selected from the below. Essays must include comment on their influence and relevance to Piping.

a. The MacCrimmons of Skye

b. The MacKays of Gairloch / Rassay
c. The MacArthurs
d. The Camerons
e. The MacPhersons
f. The MacLennans
g. The MacGregors
h. The Rankins
i. The MacIntyres
j. The Descent of Piping knowledge and tuition to the present day

Page 144
Page 145
Page 146
Page 147
Page 148
THE NATIONAL

CENTRE

The Piping Centre Ltd, 30-34 McPhater Street, Glasgow G4 0HW.

Tel: +44 (0)141 353 0220. Fax: +44 (0)141 353 1570.

www.thepipingcentre.co.uk
The National Piping Centre is a company limited
by guarantee with charitable status
Registered in Scotland No 139271 Registered Charity No 020391