Hi Alasdair,

Thanks for your insight on Scott's Lamentation. I haven't spent
as much time as I would like on this - have been pursuing some
other intersting projects (am writing this while waiting for some
glue to dry, Simon). It's a great piece of music, and a learning
experience. Interesting comments on bar 4 of the first line.
I think I've been playing the low B as a crotchet followed by the
g'-b' chord (dotted quaver), e" (semiquaver), a (dotted quaver),
d" (semiquaver), g' (crotchet). Have to double check, though.
Very interesting to see that Bunting penciled in the semiquaver e".

Anyway, I hope to find some more time to spend on this.

Regards,

Karen

> I notice that in the original inking of p58, p158 & p159, the ee
> gracenote in stave 1 bar 4 of the metrical version is either
> ligatured to the preceding b (p58 & p159) or written very close to it
> (p158). This might mean it was held for longer than either the
> preceding note b or the succeeding note a. If you're going to do a
> trill on the subsequent note a (the trill being marked above both
> occurrences of that note in those first notations), it might be a
> possible explanation for not playing the ee as a very short grace
> note onto the note a, as per the following dd gracenote onto g figure
> (that dd is noted as a semiquaver on p159 and no more than a quaver
> in pencil on p158).
>
> True, the ee gracenote I'm talking about here is marked as a
> semiquaver in pencil on p158 but these pencillings must surely be
> handled with a certain caution, firstly because it seems clear that,
> with pencil, Bunting is already editing into 3/4 time and perhaps
> including extra metrical repetitions that might never have been
> played by Hampsey.
>
> Lengthening of gracenotes is very common in the ceòl mór of the
> Highland pipes, so much so that they have ended up being notated as
> main melody notes quite standardly.
>
> Sin an smaointinn agam co-dhiùbh. Beannachdan,
>
>
>
> Alasdair
>