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Example 14: MacLeod of Raasay’s Salute mode of the piece do not indicate A as the tonic.

Figure 13 Example 14: MacLeod of Raasay’s Salute mode of the piece do not indicate A as the tonic.

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The Viscount of Dundee’s Lament.
The Viscount of Dundee’s Lament.
Example 2: An example of a simple cadence irregular phrasing, like The Viscount of Dundee’s Lament will feature irregularly occurring and
Example 2: An example of a simple cadence irregular phrasing, like The Viscount of Dundee’s Lament will feature irregularly occurring and
As shown in the example above, the melody of the ground and variation I of The MacNab’s Salute are very similar, but the grace notes of the variation are simpler. Following ixample 4: The ground, Variation I, and Doubling of Variation I from The MacNab’s Salute
As shown in the example above, the melody of the ground and variation I of The MacNab’s Salute are very similar, but the grace notes of the variation are simpler. Following ixample 4: The ground, Variation I, and Doubling of Variation I from The MacNab’s Salute
There are variations—such as example 6 below—that are referred to by the specific grace
There are variations—such as example 6 below—that are referred to by the specific grace
The crunluath is a seven-note grouping of grace notes that alternates rapidly between
The crunluath is a seven-note grouping of grace notes that alternates rapidly between
In this chapter I have introduced some of the important notational components that will
In this chapter I have introduced some of the important notational components that will
melody in this example is the third B phrase, which is mm. 11-12. can be altered in general are denoted with an asterisk (*). The only phrase that features an altered
melody in this example is the third B phrase, which is mm. 11-12. can be altered in general are denoted with an asterisk (*). The only phrase that features an altered
A trend that I have noticed in secondary phrase structures—as well as other structures LADY MARGARET MAC DONALDS: SALUTE.
A trend that I have noticed in secondary phrase structures—as well as other structures LADY MARGARET MAC DONALDS: SALUTE.
Example 11: The Lament for the Dead with outlined hiharin In pieces that follow a supplementary B structure, the last measure of the C phrase is often a transposition of the final measure and features the same rhythm and ornaments as the
Example 11: The Lament for the Dead with outlined hiharin In pieces that follow a supplementary B structure, the last measure of the C phrase is often a transposition of the final measure and features the same rhythm and ornaments as the
Example 12: The Massacre of Glencoe pibroch pieces. As with most tonal harmony, there are various ways to categorize a single
Example 12: The Massacre of Glencoe pibroch pieces. As with most tonal harmony, there are various ways to categorize a single
Example 15: The G and A Heptatonic Scales
Example 15: The G and A Heptatonic Scales
Example 16: Anhemitonic Scales interfering with the overall pitch collection.
Example 16: Anhemitonic Scales interfering with the overall pitch collection.
pibrochs that make use of what is referred to as a double tonic in which two pitches could be
pibrochs that make use of what is referred to as a double tonic in which two pitches could be
Example 18: The MacKay’s Banner Being the sixth above G, the note E is emphasized as well as the note B which is typically “echoes”. Following the echoes on E there is a cadence down to B.
Example 18: The MacKay’s Banner Being the sixth above G, the note E is emphasized as well as the note B which is typically “echoes”. Following the echoes on E there is a cadence down to B.
Example 19: MacNeil of Barra’s March phrase, but transposed by a step each time.
Example 19: MacNeil of Barra’s March phrase, but transposed by a step each time.
Example 22: MacRae’s March G, is used to end the B phrases that do not end on E.
Example 22: MacRae’s March G, is used to end the B phrases that do not end on E.
This lament closely follows a tertiary B phrase structure, but is ambiguous in its modal Example 23: Captain Donald MacKenzie’s Lament
This lament closely follows a tertiary B phrase structure, but is ambiguous in its modal Example 23: Captain Donald MacKenzie’s Lament
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