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A website by Barnaby Brown
Binary Measures
> Introduction
>Music
>> Sardinian
>> Northern The MP3s on this page introduce a compositional principle usefully summed up by Bill Taylor in
>>> Binary Measures
>>> Pibroch
teaching workshops as "home and away". Home has the qualities of concord and repose, and is
represented by the digit "1". Away has the qualities of dischord and instability, and is represented
>Images by "0".
>> Mediterranean
>> Gaelic
>> English
>History
>> Source Readings
>> Instrument-
making Patterns of "1s" and "0s" are repeated to form variations, and varied or temporarily abandoned
>> Northern Revival within larger musical structures. They constitute a musical grammar established over generations by
musicians in the Irish and British Isles. It was not a rigid system, but provided familiar territory from
which creative genius departed, new fashions evolved, and regional differences arose.
In medieval Wales, the patterns were known as mesur (measures). A list of 24 survives in the
Robert ap Huw manuscript of c.1613. As in blues and jazz, the use of standard progressions
facilitates the creation, appreciation, and memorisation of music.
Identifying binary measures is rarely straightforward. They tend to be buried below the melodic
surface, or creatively departed from to avoid the music becoming predictable. The following excerpts
have been carefully chosen to help listeners identify a few of the more common measures.
1100 1101—Pòg o leannan an fhidhleir
Barnaby Brown & Javier Sáinz 2007 (recorded at Glasgow's Piping Live! festival)
The first work in his manuscript is a magnificent example attributed to Dafydd Athro (fl.1350-65), or
"Master David":
1100 1011—Gosteg Dafydd Athro (Robert ap Huw MS, pp.15-17) — Bray harp
William Taylor 1997 (Two Worlds of the Welsh Harp)
The same measure is widely found in Scottish pibroch: for example, in Cruinneachadh na' Fineachan
—The Gathering of the Clans. Though not written down until the 1830s (Angus MacKay MS, vol.2,
p.93), this work may have been in transmission since the sixteenth century:
As Korffiniwr was widely used at an early period, I used it as the measure of my first compositions
for northern triplepipe:
1100 1011
Capturing the dromond — Ardchattan triplepipe & drum
Barnaby Brown & Alistair MacLeod 2003 (Out of the Stones)
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7/23/2018 Binary Measures
The John Purser Sonata — Iona triplepipe & early clarsach
Barnaby Brown & Ann Heymann 2003 (private recording)
Further Reading:
Frans Buisman 2005 — "A Parallel between Scottish Pibroch and Early Welsh Harp Music", Welsh
Music History 6
Peter Greenhill 2000 — "Melodic formulae in the Robert ap Huw Manuscript", Welsh Music History 3
Paul Whittaker 2007 — "Harmonic Forms in the Robert ap Huw Manuscript", Welsh Music History 7
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