TUTOR FO/J

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7^' EdUioib, 1878

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EDINBURGH PUBLISHED BY DAVID GLEN, BAGPIPE MAKER, 8,Greenside Place.
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 CLAR-mSEADII.
93601
A Slieana bhean Bhoclid - 7 Buachaille Ghobhar 52 Gaolach Rohi
- -
- - 36 Rob Rtiadli Mac Ghriogair
An Cath-Bhuidheann
-
- 11
Rioghail Ac. 10 Bruthach Innis-Ruairidli - 53 Gillean an Stàbaill -
-
- - 47 Rachainn a' m'aire Ac. - - 15
An Rud a Ri nil Fitheach oirnn 19
am Cabar Féigh .... 9 Gleann Gallaidh nan Craobli - 43 Righle Thulaichean - . - 26
An Gillo Dubh mo Laochan 20 Caisteal Dhrumainn
- . .18 Gille Calum - . . - 2A Rucam Racum - - - 41
Am bun a' Chruidh cha Chaidil mi 24 Cuir do chuid air fire ! faire ! 18 H-uile tè sa' còt an togail Ac.
A Bhainis a Bha'n Torrasdal
-
- 52 Sud mar chadh an cài a dholaidh S
29- Caisteal Dhiura 21 Hò rè Aonghais bi treun !
An Gille Dubh Gaolach
- . -
- 36 Sud an gaol a bh' agad orm - 13
- - 30 Cha téid mo Bhean air chéilidh 23 Iain Chaimbeil a' Bhanca 20 'S tu
Alasdair Garbh 35 Catrina òg
- mo fhleasgach bòidheach - 19
- - -
- - - - 23 Lurga na Cailliehe - 13 Seann Nighean Iseabail
An Cota Ruadh 39 Cuir air do shon féin Uilleam
- -
- - 27
- - -
- 28 Mac Iain Ghasta ... 9 Sir Iain Cope -
An Suaithneas Ban 43 Coille nan Gad - - - 27
. - -
- -
32 Monaidhean Ghlinn-Urachaidh
.
14. Sabhal beag a' BhAilidh
Am Muillean Dubh - 41 Crodh-laoidh nam Bodach
- . 33
- -
29 Mairearad Minn Mholach
-
15 'Sam agam tha'm Bodach, Ac. -
Am Braman air Cha'n eil aon dùnadh Ac.
-
31
reangnan Tàilear ! 45 37 Monadh Mhuaisg
-
- - - 49 Soiridh la Banhh - - 34 -
An Comunn Gàelach .46 Curnha Mhic Mhuirich
- -
.40 Mòrag Nighean Domhnuill Duinn 55 'S Bòidheach lurach Catriana - 36
Aisling Màiri - - - - 50 Cuir sa Chiste nliòir mi &c. - 55 Null air an Uisge
gu Tearlach - 10 Saili Granud - - -
40 -
A Bhalgain, a Bhalgain ! 52
- - Dìdeag chinina' mi Sgoiriceag - 17 Nic Iain Ghirr sam Ministear - 16 'S truagh nach bu leis an
t-Saigh-
A nochd athéid mi null air Port 53 Drochait Pheairt 25
- - -
bi goid na Coille orm - - 17 dear mi - - .46
-
An Tàilear Fidhleir - «56 Dubh a' Chailleach, dubh a bréid 32 Nam biodh Bean
agam fhin - 45 Srath Dhailbhinn - - 51 -
Bail' Inbhaeraora ... 8 Dòmhnull a Bh'air a' Ghille 23 Nighean Dubh nan Geala chas -
-
54 Tha mi gu tiun a Bhean, Ac. - 16
Bonaid Gòrm ----- 12 Dòmhnull Eachuinu 47 O
Bannarach a Mhirein
. -
Irioghuill ort, irioghuill ort Anna 43 Titi Taiti .... 7
- - 25 Dhàmhsadh Coinneach ri Inghinn 48 Port a' Ghoill .... 34 Théid sinn, théid sinn, Ac. - 11
Bainnis Choinnich - - - 39 Fear a' Chinn Mhòir 22 Plobaireachd Dhòmhnuill Duibh
- .
38 Théid mi air do Bhean a' Bhodaich 12
Buail gu Dlù le d' Chluigean mi 42 Fear Chuil-Chàrn -35 Port Marsail nam Prostanach
. .
38 Thuird am Bodoach ris a'
B'fhearr leam gum bu learn fliln thu 44 Gu'n ith na coin na Ceannaichean 14 Port na
-
chailich, 21
Bodach an Dreanndaiu
Luinge - . - 42 Tha Bioilag air Mac Thòmais - 24
• - 49 Gille Crùbhacn aims a' Ghleann - 39 Port nan Clachaireau - - 56 Tulach Gòrm • - - 28
 14
The Dogs eat the Merchants 49
INDEX. The Firstof May
Tha ini sglth 's mi lean fhìn
ni
41 Free and accepted Mason
56 j Mary Gray - • • 32 The Forest ...
56

Thoir do Gliuiina cuide riut 50 Go to Berwick, Johnnie

43
50
j Mary's Dream ...-
Marquis of Tullybardine
50
53 The Goat Herd
52
8
Tha Righili aig na Tunagan 51 Greig's Pipe The Haughs of Cromdale
Taigh Dhun-chaillion
-
26 Glengarry's March
7 j Miss Drummond of Perth - 30 The Highland Laddie
9

- 23
- 25
Uilleam 's Calura '8 Mòrag
Highland Harry back again
12
j Mrs M'Leod of Rasay - The High way to Linton
Navies of Tunes, in Enylish. 45 Miss Forbes' Farewell - 34 The Hills of Glenorchy 14
I hae a wife o' my ain
A Man's a Man for a* thai?
20
Jeanie Latin
18 Moueymusk - - - 4!) The Isle of Sky Militia's March
- 17

Arndilly's Reel ...

24
30 Jeany dang the Weaver
53 My Wife's a wanton wee thing 37 The Wood of Fyvie 32
Annie MacNab ... 13 New Rigged Ship - - 42 The Keel Row 52
Aiken Drum
34 j John Roy Steuart 27 Neil Gow's Strathspey - - 24 The Cameronian Rant 41
15 I Johnny Cope ... 3 O'er the hills and far away - 46 The black hair'd dear Lassie 54
Blyth, blyth. and merry was she 26 ! Johnny Lad
Brose and Butter ...
... 37 O'er the water to Charlie - 10 The Protestant Boys 3S
Bundle and go ...
29 I King Robert Brace's March 11 Pease Straw - - - 21 The Red Coat 39
Culdar's Rant
13 I King William III.'s March 23 Port Patrick - - - 31 The Reel of Tulloch 26

Culcairn's Strathspey j
35 Katrine Ogie 35 Smirking Nancy ... 55 The Rock and wee pickle Tow 20
37 Kenmuir, on and awa'
Corn Riggs ... 48 Sleeping Maggy - - - 36 The Reel of Bogie 29

Outtie's Wedding
39 I Keuny would dance with r
a 22 Stumpie's Strathspey - - 42 The Stable Boys 47
11 ' Keppoch's Rant
Duncan Gray ... 22 Sweet Molly - - - - 40 The Sword Dance 34
15 ! Lord Dunmore's Jigg
Duke of Atholl's March 55 ; The Black Mill ... 44 The Weary Maid 31
17 Lord M 'Donald's Reel
Drops of Brandy I
16 Lady Loudon's Strathspey
16 The Royal Highlanders' March 10 The White Cockade 43

Downwith the Croppies - 48 ! The Braes of Tulleymet - 12 Tulloch Goram 28

Drummond Castle * -
18 j Lochaber no more
3)! The Bridge of Perth - - 25 28
-
21 j Locheil's March Up and waur them a' Willie
Dewra Castle ... 51 1 Locheil's Rant
19 1 The Campbell's are coming - 8 Watson's Scots Measure
41

Dunkeld House 51 : Macfarlane's Lilt

19
j
40 ' The
The Celtic Society's Q,uick Step - 46
Devil among the Tailors 45
We'll gang na mail- to yon town
23
3b
Delvin Side -
47 ! Macpherson's Lament Wooed and Married an a'
Davie Rao ...
27 Madam Casy
44 i The Deer's Horns - • 9
Earl Marcsclial's Reel
 Before attempting1 lo play, it is of the characters which represent sounds, atid the man
necessary to learn some
tier of playing them. As, however, the Pupil will not have occasion for all, in the commencement of his practice, the plan

pnrsucd in the following pages is to introduce such points in a progressive order. It is earnestly recommended notto pass
over a
page till its contents arc learned, and to remember that improvement is more likely to he retarded hy haste than
l»y deliberation .

THE Stave consists of five parallel lines, the notes arc placed on the lines, in the spaces between them, and also below
and above the Stave. •» * ^ • The Treble or G clef is used in Pipe music and gives the following names
in
Li ties. Spaces.

to THE NOTES , « « « - The Bagpipe has no note lower than G. and but one upon the ledger line
G. B.D. F. A. C. E.G.

above the Stave "ZZZ. The Time to he given to notes depends upon their form, The different formed notes are the

Semibreve O, ( not used in Pipe music.) The Minim

, I
Cj, Crotchet p, Quaver f, Semiquaver », and Dcmisemiquave
The latter of which is charactcrcstic of the Instrument as a Grace note, and used to break mouotoniotis sound
 4
as two or more notes cannot He played distinctly without it .

A O is as long as 2 Q or 4 • or 8 0 or 16 • or 32 » , A C| is equal in leng th to 2 0 or 4 0 or S f or 16 •

\ r i> \
.

i r v * i .
£
Bar lines di_
2 4 (I 8 #,—A
4 —.A • is to 2
A f is equal to p or or
^ is equal to 2 # or :
vides a movement in small equal portions of durations. The double bar || marks the end of a particular part, or the
vahole air. The dotted double bar :|| ihcans that the part from the begining1 ( or the last donble bar j is to be repeated.
The time of a Musical Composition is Common, Triple,—Simple, or Compound. Simple Common Titnc is ^ or or
o> . fi R 12 32
---, The latter is called half common time. Compound common time is expressed by , — ,-zSi. & -. Simple triple
4
litnc by
-

S_ i=L & .*2.. Compound triple time b\

900
"t-, f* —- •
4 8 8 16
"248 • 4 8 16
IN THIS COLLECTION, THE FOLLOW IN& ARE THE ONLY TIMES USED.

SIMPLE COMMON TIME. HALF COMMON TIME.

One Semibreve or equivalent in a Bar. One Minim or two Crotchets.
 compound common time. SIMPLE TRIPLE TIME. COMPOUND TRIPLE TIME.

Six Quavers or equivalent in a bar. Three Crotchets or equivalent. Nine Quavers or equivalent

123 45 6 12 3 4 56 123 45 6 0 1231-2 _3 _ r_

When a If is placet! over D.E.F. G. 17

or A. it must be played g. d.c. to D.

When
Marked.
... 1 f~
f=fT=f|■ 1
= -Br
g. e. f. to E . ,g. {. g. F. EXAMPLE

It is
n
P
A f
g\ I. to G-. and a. g, to A.
*
THE SCALE.
G . A. B. D . E . F. G. A OBSERVE.

Thumb
J f T|
-
O
The

ers are
round

to be
Black

down
• shows which

and the O
fing
those
Left - -
• -o
o- be
Hand that to The Thticuh of the
. .

are up.

Right right-hand shonld be placed precisely

.
o- - - . .
o ......
Ha n d O- - - .
o- - •
behind C. in holding the Chanter, But
o . .
o . - -
o • . 0- - - -. -
o -

o () c) O the little finyer of left hand is not used.

O O o

The F ingers of the right or lower hand should be placed across the chanter, so that the fourth finger will
cover the low A. note without causing the other fingers to be bent.
 /

Tlti Tjliti .
King- Ro Bruce's March . 7
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s Sud mar chaidh an cài a dholaidh. The Hjugtis of Cromdale.
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 The Highland Laddie. Mac Iain frhasta.

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IO An Cath-Bhuidheanil Rioghail Gaélacll. 42d Royal Highlanders Original March.

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fficxli i ^LTO^Fr^cf i ejXJ i Li ij vicj i f > •jiiii^

O'er the water to Charl le . Null air an Uiige gu Tearlacli.
 Rob Ruadh Mac Ghriogair. Duaca ri
Gray. 3]

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Théid silin,théid sinn,le Slligart , agUS théid. Kinjr William 3"* March.

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John Roy Stusrt. Srr<1 ang^aol a hl?atja»l o rm .

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The Hills of Glenorchy. Monairihean Grhli an Urachairfh .

The Dog's eat tlie Merchant .

^
rffir^
 Rachainn a' mhire ri Nighinn ghlain òig. Duke or Athoii's March 10
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 Nic Iain Ghirr'sam Ministear. Lady Loudon's Strathspey.
. J* JR r__l

Tha mi gli Tinn & C. Down with the Croppies. After this part, play the Secondai this mark and.Close.
 The Isle of Skye Local Militia's March Na Bi g'oid m Coille i;
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Drops of fbrandy. Diflea j Chinina' ini S^roireiceag'.

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18 Drummond Castle. Caisteal Dhrnmiin

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Jcanie Latin.

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— . Close.

^fcNote After this part, play the Seiond at this mark .«s-. and Close.
 Macfarlanes Lilt. An Bud a Kinn am Fnheath otrnn. 19
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 Well gang nae mair to yon toun. cua t4id mo Bhean air Chéiint». 23
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 The Reel of Bogie . A Bhainis a bha'n Torrasrlal , 29

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 Tha mi sgith S mi leam fhin. The Weary Maid. 31

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 The'White Cockade. An Suaithneas Ban. 43

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46 Tlie Celtic Society's Quick Step • \a Comunu G-aclacli •

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Note After this part,play the Second at this mark and Close. Hsfe—
 Gillean a Stabaill The Stable Boys. 7-
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The Marquis of Tullybardine s Reel Brtithach Innis Ruairirlh.

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 Nighean dubhnan Geala Chas. Tlio Black hair'd dear Lassie.

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 Lord Mac Donald's Reel.
MoragNigheaa Domhnuill Dainn . 66

Cuir sa Chiste Mhoir mis còigbonaich fo mo cheann Smirking' Nincv.

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 SUPPLEMENT OF BAGPIPE TUTOR. 57

In learning to play the Bagpipes, the Pupil must commence with the Practising Chanter,the fingering of
which is shown in the scale at the
beginning of this booh. After having mastered the scale the following
exercises should be learned,
lifting the fingers high in making the principal notes which enables the player*
to make the notes bard and distinct. The grace notes introduced in exercises N'l? 2. 3. 4. are made by a
slight movement of the fingers, time not allowing them to be raised up as in making the principal notes.

Is- Exercise.
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2n-<* Exercise.

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COUNT. 112 12
*When a tune
begins with an odd note or portion of a bar the last bar will be found to be deficient to
the same extent—both together making only one bar so that the time is kept full.
 58
3^ Exercise.

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The different grace notes and cuttings made of in bagpipe music; treat the
use grace notes as principal
notes when practising.

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59
60

X
62

BLOWING THE BAGPIPES.

After
having learned to play a few tunes on the chanter, the pupil
may then commence to learn the blow_
ing of the Pipes. First, place the thumb and the first two fingers of the left hand on the Chanter fas in
.sounding E,) and then place the blowpipe into the mouth (taking care not to grip it hard with the teeth)
Grip the stock (the lowest joint) of the Bass drone with the right hand and then blow into the Bag, and when
full place it under the left arm. The arm must not be
kept too firm on the bag; and when drawing breath,
press the arm on the Bag so as to keep up the current of wind the same as when
and so on,
blowing into the Bag;
alternately blowing and pressing the Bag. The blowing of the Pipe must be steady and uniform,
iind with the
longest breath conveniently possible. The strength of the breath ought to be such as keep the
reeds in the same
strength of sound, quite independent of the assistance of the arm. The pressure of the
 63
which holds the
arm
bag while the breath rests must be so as to keep the reeds in the same strength of
sound as the breath, for if the least difference is perceived, it is a blemish. The motion of the arm must
also be gentle and gradual as to be hardly perceived. It is better to stop two Drones until such time
so

as the
pupil has had sufficient practice to enable him to keep the Pipes going steadily.The Drones should
be tuned to E on the chanter
proving if they are correctly tuned by sounding the low A with which they
will be in unison if
correctly tuned, and if the chanter reed is fitted correctly into the chanter. Ifthe drones
require to be tuned farther up to suit high A, then the chanter reed is too flat; if the Drones require to tune
farther down to suit high A, then the reed is too
sharp. To make the chanter reed sound sharp, put it farther
into the chanter. If the reed is
sharp on the top of the chanter, raise it up a little. If the drones tune too far
out, lengthen the tongue of the reeds by
pushing back the tuning thread; if they tune too far down, shorten the
tongue of the reeds which makes them sharper.
DIRECTIONS FOR KEEPING THE BAG TIGHT.
Take off the and cork
cover
the stocks, then put into the bag by the chanter stock a small quantity of la¬
up
rd; milk warm, then rub the bag between the hands before a slow fire to make the lard adhere; when cold, clean
out the stocks of any lard that may have got into them.
GRUlNNEAfiD CArf MAC KENZIE'S JI&&

MAGAI D A" THIOBAIR

66 GILLEAN A STABUIL . LADY WEMYSS' JIG.

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