Hi Martin, I had a look at this piece which I know but don't play. I
would abandon your chord progression analysis as unsuitable for old
Gaelic music, but I understand your point that the strong notes of
the melody are re-ordered by the variations. however variations are
free to do whatever it takes musically and I don't see either the
melody or the variations working musically swapped around. I reckon
they are a good fit for each other. also it's interesting that the
variations appear in their source without the tune, making me think
that they may always have been stand-alone. You should look at the
Oswald set mentioned by O'Sullivan to see how he handles this issue.

You mention the surviving Scottish sets but then give the Royal
Lament as an example - forgive me if I'm wrong but arent the only
variations for this in Simon Fraser? I'm afraid it's pretty likely
that Simon made up all the variation sets in his ms in a very
mechanistic derivative style. He was one of the worst of the 19th
century improbvers and I don't trust him an inch. You're better off
looking at the ones in Dow and MacFarlane for "real" variation
structures.

Best wishes

Simon




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