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Logan's Bonnie Woods and Braes

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  • Alasdair Codona
    A chàirdean, A little gift for Oidhche Challainn. I ve uploaded Logan s Bonnie Woods and Braes into the Files section of the group. This tune appears in the
    Message 1 of 12 , Dec 27, 2008
      A chàirdean,

      A little gift for Oidhche Challainn. I've uploaded Logan's Bonnie
      Woods and Braes into the Files section of the group. This tune
      appears in the Gesto Collection of Highland Music (1895). The
      arranger was Keith Norman MacDonald, Gesto hospital's Resident
      Medical Officer, who died in Edinburgh.

      To their 1997 edition, Llanerch Publishers have prefixed a
      publisher's note which says that 'he sent his collection of music to
      his printers in Leipzig with most of the items in the form in which
      they had been given to him.'

      This might explain the singularness of the bass arrangement of
      Logan's Bonnie Woods and Braes compared to other basses in the
      collection. I haven't heard this bass talked about before by Gaelic
      harp aficionados. The bass magadises a lot and it is quite
      remarkable that such a bass appears in such a late collection. I
      haven't gone looking through this collection for such basses but I
      much just now since discovering this one.

      If we place this tune on the Gaelic harp on a descending scale of aaa
      gg ff ee dd cc aa g, it finishes on aa. Folks should recognise the
      mode. Only two fifths appear in the bass and only one third.

      As with Scott's Lamentation in publication, the bass is full of
      octaves. Again, we're left wondering if this doubling was for the
      benefit of the piano or not.

      I wonder if anyone knows offhand where Keith Norman MacDonald's
      papers are? I'd be very interested in locating an original copy of
      this arrangement. It may be possible to ascertain its provenance.

      Beannachdan,



      Alasdair
    • Janet Kurnick
      Alasdair, It is also in Gow s Vocal Melodies of Scotland under the name Logan Water. I believe that book was published in 1822, but I am not positive about the
      Message 2 of 12 , Dec 28, 2008

        Alasdair,

        It is also in Gow’s Vocal Melodies of Scotland under the name Logan Water. I believe that book was published in 1822, but I am not positive about the date as I don’t see it on the cover (I have a photocopy). We’re talking Nathaniel Gow. Page 4, so I’m assuming this started out as something quite different than a MARCH!!?? The bass line in this one is not so interesting but this is an older version.  I think you were making a point regarding the bassline of the Gesto Collection version, but that is 1895. So I’m not sure how this all fits with theories. I have only known it previously as an air. Very interesting.

        Janet

      • Alasdair Codona
        Dear Janet, You re right, it s also known as Logan Water but also under a plethora of other names. It s in so many editions that I d hoped to find it amongst
        Message 3 of 12 , Dec 28, 2008
          Dear Janet,

          You're right, it's also known as Logan Water but also under a
          plethora of other names. It's in so many editions that I'd hoped to
          find it amongst Keith Norman MacDonald's papers (if they have been
          catalogued) and circumvent having to call all the editions up in the
          library!

          The possibility I'm investigating here is that this arrangement was
          not made by Keith Norman MacDonald (and that he perhaps handed his
          publishers his own copy of it). The date of Gesto's publication is
          fairly irrelevant in relation to the bass line if his source cannot
          be dated; it might be fifty years old for example or a copy of
          another source or a copy of a copy and so on. All would be explained
          harmonically should it have come from Albyn's Anthology but I don't
          have a copy of that at hand to check if the tune in question is in
          there. Off to the library tomorrow though!

          Beannachdan,


          Alasdair









          --- In clairseach@..., "Janet Kurnick" <jkurnick@...>
          wrote:
          >
          > Alasdair,
          >
          > It is also in Gow's Vocal Melodies of Scotland under the name Logan
          Water. I
          > believe that book was published in 1822, but I am not positive
          about the
          > date as I don't see it on the cover (I have a photocopy). We're
          talking
          > Nathaniel Gow. Page 4, so I'm assuming this started out as
          something quite
          > different than a MARCH!!?? The bass line in this one is not so
          interesting
          > but this is an older version. I think you were making a point
          regarding the
          > bassline of the Gesto Collection version, but that is 1895. So I'm
          not sure
          > how this all fits with theories. I have only known it previously as
          an air.
          > Very interesting.
          >
          > Janet
          >
        • janet_kurnick
          Ah - I understand. I just assumed any book from this era had a fabricated piano bass line. I think you have far greater resources for researching this sort of
          Message 4 of 12 , Dec 28, 2008
            Ah - I understand. I just assumed any book from this era had a
            fabricated piano bass line. I think you have far greater resources for
            researching this sort of thing than I ever will have. I'm very
            interested in whatever you may find. - Janet

            --- In clairseach@..., "Alasdair Codona"
            <calumcille@...> wrote:
            >
            > Dear Janet,
            >
            > You're right, it's also known as Logan Water but also under a
            > plethora of other names. It's in so many editions that I'd hoped to
            > find it amongst Keith Norman MacDonald's papers (if they have been
            > catalogued) and circumvent having to call all the editions up in the
            > library!
            >
            > The possibility I'm investigating here is that this arrangement was
            > not made by Keith Norman MacDonald (and that he perhaps handed his
            > publishers his own copy of it). The date of Gesto's publication is
            > fairly irrelevant in relation to the bass line if his source cannot
            > be dated; it might be fifty years old for example or a copy of
            > another source or a copy of a copy and so on. All would be explained
            > harmonically should it have come from Albyn's Anthology but I don't
            > have a copy of that at hand to check if the tune in question is in
            > there. Off to the library tomorrow though!
            >
            > Beannachdan,
            >
            >
            > Alasdair
            >
            >
            >
            >
            >
            >
            >
            >
            >
            > --- In clairseach@..., "Janet Kurnick" <jkurnick@>
            > wrote:
            > >
            > > Alasdair,
            > >
            > > It is also in Gow's Vocal Melodies of Scotland under the name Logan
            > Water. I
            > > believe that book was published in 1822, but I am not positive
            > about the
            > > date as I don't see it on the cover (I have a photocopy). We're
            > talking
            > > Nathaniel Gow. Page 4, so I'm assuming this started out as
            > something quite
            > > different than a MARCH!!?? The bass line in this one is not so
            > interesting
            > > but this is an older version. I think you were making a point
            > regarding the
            > > bassline of the Gesto Collection version, but that is 1895. So I'm
            > not sure
            > > how this all fits with theories. I have only known it previously as
            > an air.
            > > Very interesting.
            > >
            > > Janet
            > >
            >
          • simon@simonchadwick.net
            ... http://www.wighton.sol.co.uk/detail.cfm?id=104
            Message 5 of 12 , Dec 28, 2008
              > All would be explained
              > harmonically should it have come from Albyn's Anthology

              http://www.wighton.sol.co.uk/detail.cfm?id=104
            • Alasdair Codona
              A chàirdean, It looks like Albyn s Anthology isn t the explanation for the Gaelic harmony in Logan Bonnie Woods and Braes then; at least, not directly.
              Message 6 of 12 , Dec 28, 2008
                A chàirdean,

                It looks like Albyn's Anthology isn't the explanation for the Gaelic
                harmony in Logan' Bonnie Woods and Braes then; at least, not
                directly. Thanks for that list of contents, Simon.

                Versions of the tune appear in over forty sources, Janet, so I'll let
                you know how I get on!

                Beannachdan,



                Alasdair




                --- In clairseach@..., simon@... wrote:
                >
                > > All would be explained
                > > harmonically should it have come from Albyn's Anthology
                >
                > http://www.wighton.sol.co.uk/detail.cfm?id=104
                >
              • Alasdair Codona
                A chàirdean, I checked Albyn s Anthology today and it is by no means an explanation for the harmony of Logan s Bonnie Woods and Braes so the bass of Logan s
                Message 7 of 12 , Dec 30, 2008
                  A chàirdean,

                  I checked Albyn's Anthology today and it is by no means an
                  explanation for the harmony of Logan's Bonnie Woods and Braes so the
                  bass of Logan's Bonnie Woods and Braes would seem a fluke.

                  Browsing through the Gesto volume, some other interesting
                  arrangements which catch my eye as magadising significantly are
                  Fàilte na Mórthìr (p23), Tha Dùrachd mo Chridhe Dhut (p52), and
                  Chaidh Mise dhan Tràigh (appendix p22). If folks would like me to
                  put these in the Files section of the group, just let me know. The
                  rhythm of his settings quite often doesn't match the stresses of the
                  songs which means that the bass can actually be hitting the
                  unstressed notes instead of the stressed ones.

                  That such sonorities occurred to Keith Norman MacDonald as
                  appropriate even in his day is very interesting, although I don't
                  find it too surprising. I remember myself being very pleased when
                  looking at the harp bass notes in Bunting's early jottings for the
                  first time because they were so familiar from what you hear in your
                  head in unaccompanied Gaelic song, free from mainstream triadic
                  harmonies and their chordal modulations.

                  Beannachdan,


                  Alasdair





                  --- In clairseach@..., "Alasdair Codona"
                  <calumcille@...> wrote:
                  >
                  > A chàirdean,
                  >
                  > It looks like Albyn's Anthology isn't the explanation for the
                  Gaelic
                  > harmony in Logan' Bonnie Woods and Braes then; at least, not
                  > directly. Thanks for that list of contents, Simon.
                  >
                  > Versions of the tune appear in over forty sources, Janet, so I'll
                  let
                  > you know how I get on!
                  >
                  > Beannachdan,
                  >
                  >
                  >
                  > Alasdair
                  >
                  >
                  >
                  >
                  > --- In clairseach@..., simon@ wrote:
                  > >
                  > > > All would be explained
                  > > > harmonically should it have come from Albyn's Anthology
                  > >
                  > > http://www.wighton.sol.co.uk/detail.cfm?id=104
                  > >
                  >
                • Janet Kurnick
                  Is there any indication that any of the parties involved in any of these publications had anything to do with harpers? I ve gotten so used to the skeletal
                  Message 8 of 12 , Dec 31, 2008

                    Is there any indication that any of the parties involved in any of these publications had anything to do with harpers? I’ve gotten so used to the skeletal octaves in the Skye Col lection to indicate what was going on in the bass, and they are for the most part piano music, that it never even occurred to me to pay attention to anything in the bass clef on any of these old publications.  Since Skye is also a Keith Norman MacDonald publication, I’m wondering if this wasn’t some sort of trend at simplifying things for pianists?  Sorry, I’m not really that piano savvy. How would one know if any of these were taken from harpers? If Anything the bassline of most of the pieces in Gesto look more piano like than do the things in Skye  Same thing with Fraser coll, which to me looks at a surface glance to be on par with Gesto, but I’m missing the info that links any of this stuff to harpers. Do you guys know something I don’t? I’m sorry that I am so sketchy in my background of terminology, but I am trying to understand the difference between the pieces you are selecting (I have a copy of Gesto so I’m fine) with the standard things I’ve been seeing for years (all of Skye Collection has the same sort of bass line octaves), which I have been interpreting as shorthand for piano players of the time.  I know most of you guys are far more in touch than I  am, so I’m thinking that perhaps there is a whole chunk of info that I am missing out on here.  Can you fill me in?

                    Janet

                     

                  • Alasdair Codona
                    Dear Janet, I don t know if you ve read my Gaelic harmony articles but they were partly written to show that there were some ways of harmonising in Scotland
                    Message 9 of 12 , Dec 31, 2008
                      Dear Janet,

                      I don't know if you've read my Gaelic harmony articles but they were
                      partly written to show that there were some ways of harmonising in
                      Scotland and Ireland which were linked to the Gaelic harp but not
                      limited to the Gaelic harp. One can find similarities between harp
                      basses noted by Bunting and basses in a few other sources (such as
                      lute books, the Joly Carolan fragment and Lee).

                      One of the key features of these styles of harmonisation is to
                      magadise the main notes of the melody in the bass. The Gesto pieces
                      I've mentioned also do this.

                      For example, you can see in Fàilte na Mórthìr (Gesto p43) that every
                      F in the bass appears simultaneously in the treble. The Eb appears
                      in the treble too. Every C in the bass appears in the treble and
                      almost every Bb in the bass appears almost simultaneously in the
                      treble.

                      This kind of accompaniment is unique amongst published arrangements
                      of this period. The Gesto pieces I've previously mentioned surely
                      demonstrate that Gaelic sonorities were very instinctive to Keith
                      Norman MacDonald. They arise naturally out of the musical mind of
                      the arranger, Keith Norman MacDonald, but are very reminiscent of
                      Gaelic harp harmony with respect to magadising.

                      I hope this makes sense! Beannachdan,


                      Alasdair





                      --- In clairseach@..., "Janet Kurnick" <jkurnick@...>
                      wrote:
                      >
                      > Is there any indication that any of the parties involved in any of
                      these
                      > publications had anything to do with harpers? I've gotten so used
                      to the
                      > skeletal octaves in the Skye Col lection to indicate what was going
                      on in
                      > the bass, and they are for the most part piano music, that it never
                      even
                      > occurred to me to pay attention to anything in the bass clef on any
                      of these
                      > old publications. Since Skye is also a Keith Norman MacDonald
                      publication,
                      > I'm wondering if this wasn't some sort of trend at simplifying
                      things for
                      > pianists? Sorry, I'm not really that piano savvy. How would one
                      know if any
                      > of these were taken from harpers? If Anything the bassline of most
                      of the
                      > pieces in Gesto look more piano like than do the things in Skye
                      Same thing
                      > with Fraser coll, which to me looks at a surface glance to be on
                      par with
                      > Gesto, but I'm missing the info that links any of this stuff to
                      harpers. Do
                      > you guys know something I don't? I'm sorry that I am so sketchy in
                      my
                      > background of terminology, but I am trying to understand the
                      difference
                      > between the pieces you are selecting (I have a copy of Gesto so I'm
                      fine)
                      > with the standard things I've been seeing for years (all of Skye
                      Collection
                      > has the same sort of bass line octaves), which I have been
                      interpreting as
                      > shorthand for piano players of the time. I know most of you guys
                      are far
                      > more in touch than I am, so I'm thinking that perhaps there is a
                      whole
                      > chunk of info that I am missing out on here. Can you fill me in?
                      >
                      > Janet
                      >
                    • sanger_keith
                      Dear Alasdair K N MacDonald was of course the grandson on his mothers side of the idiosyncratic Captain Neil MacLeod of Gesto and there have been searches for
                      Message 10 of 12 , Jan 2, 2009
                        Dear Alasdair

                        K N MacDonald was of course the grandson on his mothers side of the
                        idiosyncratic Captain Neil MacLeod of Gesto and there have been
                        searches for his music papers from time to time, (we know where his
                        legal ones are). Nothing substantial was traced including the K N
                        MacDonald route, although a copy of his pipe tune histories turned up
                        in private hands in Liverpool last year and was bought by the NLS.

                        However with that uncanny event known as 'a coincidence' the day
                        after reading this post I fell over K N MacDonald again in the NAS.
                        He was a prolific writer and I found in a late 19/20th century family
                        collection I found that someone had cut out and pinned together some
                        of a series of musical columns he had published in the Oban Times.
                        Each one dealt with just one tune and although the music was given as
                        Sol Fa, he did go more into the background of each piece.

                        Perhaps if you searched the Oban Times you might find he had included
                        the 'Logan' tune with background. He also contributed similar
                        material to other publications, the Celtic Monthly and Celtic Review
                        are two that come to mind.

                        Keith


                        --- In clairseach@..., "Alasdair Codona"
                        <calumcille@...> wrote:
                        >
                        > A chàirdean,
                        >
                        > A little gift for Oidhche Challainn. I've uploaded Logan's Bonnie
                        > Woods and Braes into the Files section of the group. This tune
                        > appears in the Gesto Collection of Highland Music (1895). The
                        > arranger was Keith Norman MacDonald, Gesto hospital's Resident
                        > Medical Officer, who died in Edinburgh.
                        >
                        > To their 1997 edition, Llanerch Publishers have prefixed a
                        > publisher's note which says that 'he sent his collection of music
                        to
                        > his printers in Leipzig with most of the items in the form in which
                        > they had been given to him.'
                        >
                        > This might explain the singularness of the bass arrangement of
                        > Logan's Bonnie Woods and Braes compared to other basses in the
                        > collection. I haven't heard this bass talked about before by
                        Gaelic
                        > harp aficionados. The bass magadises a lot and it is quite
                        > remarkable that such a bass appears in such a late collection. I
                        > haven't gone looking through this collection for such basses but I
                        > much just now since discovering this one.
                        >
                        > If we place this tune on the Gaelic harp on a descending scale of
                        aaa
                        > gg ff ee dd cc aa g, it finishes on aa. Folks should recognise the
                        > mode. Only two fifths appear in the bass and only one third.
                        >
                        > As with Scott's Lamentation in publication, the bass is full of
                        > octaves. Again, we're left wondering if this doubling was for the
                        > benefit of the piano or not.
                        >
                        > I wonder if anyone knows offhand where Keith Norman MacDonald's
                        > papers are? I'd be very interested in locating an original copy of
                        > this arrangement. It may be possible to ascertain its provenance.
                        >
                        > Beannachdan,
                        >
                        >
                        >
                        > Alasdair
                        >
                      • sanger_keith
                        Alasdair The thought occurs of how distant in generations K N MacDonald actually was from the last harp accompanied singers. Although Murdoch MacDonald was
                        Message 11 of 12 , Jan 2, 2009
                          Alasdair

                          The thought occurs of how distant in generations K N MacDonald
                          actually was from the last harp accompanied singers. Although Murdoch
                          MacDonald was regarded as last of the harpers in Scotland, the dates
                          are pushed later with the evidence of William MacMurchy, but both of
                          these are of course a long way from Skye and the Gesto sources.

                          There is however the possibilty that the harp may have been present
                          in some Skye connected families in South Uist well into the 18th
                          century. The evidence, which is open to interpretation of how the
                          verse is translated, comes from the 'Marbh-Rann do dh'Iain Ruadh Mac
                          Cuithean, Piobair ann an Uist a Chinn a Deas, 'nuair a tha e beo, le
                          Gilleaspuig Donullach am Bard Uisteach'

                          The sixth veres is the one in question, and reads
                          Thuirt a ghloin' a bha'n t-Asdain
                          Mo sgeul craiteach, ro chruaidh
                          D'fhalbh mo shugradh, 's mo mhanran,
                          Thug am bas leis Iain Ruagh;
                          Fear a chluicheadh a chlarsach,
                          Dheanadh dan, agus duan,
                          Cha b'e caluin a chrampaidh
                          Fonn a b'fhearr leis 'g a luaidh.

                          The poet was thought to have lived from circa 1750 to 1813, but as
                          this comes from Cochruinneacha Taoghta de Shaothair nam Bard Gaeleach
                          by A Stewart and D Stewart which was published in 1804 must predate
                          that time.

                          The piper John Roy MacQueen is otherwise unknown and the name
                          MacQueen is more associated with the Clan Donald lands on Skye and
                          North Uist, although I do have a copy of an unfortunately undated
                          Clanranald rental, but possibly circa 1740's, which does list an
                          Archibald MacQueen in South Uist.

                          There is a hint in the poem that the piper had been in the army and
                          there is a John MacQueen who pops up in the Skye MacDonald papers who
                          was described circa 1730 as being in 'the Earl of Orkney's
                          Regiment',which would be the regiment now known as the 1st of Foot or
                          the Royal Scots.

                          But of course as I remarked at the start it is all down to
                          interpretation. but an interesting poem none the less.

                          Best wishes

                          Keith








                          --- In clairseach@..., "Alasdair Codona"
                          <calumcille@...> wrote:
                          >
                          > A chàirdean,
                          >
                          > I checked Albyn's Anthology today and it is by no means an
                          > explanation for the harmony of Logan's Bonnie Woods and Braes so
                          the
                          > bass of Logan's Bonnie Woods and Braes would seem a fluke.
                          >
                          > Browsing through the Gesto volume, some other interesting
                          > arrangements which catch my eye as magadising significantly are
                          > Fàilte na Mórthìr (p23), Tha Dùrachd mo Chridhe Dhut (p52), and
                          > Chaidh Mise dhan Tràigh (appendix p22). If folks would like me to
                          > put these in the Files section of the group, just let me know. The
                          > rhythm of his settings quite often doesn't match the stresses of
                          the
                          > songs which means that the bass can actually be hitting the
                          > unstressed notes instead of the stressed ones.
                          >
                          > That such sonorities occurred to Keith Norman MacDonald as
                          > appropriate even in his day is very interesting, although I don't
                          > find it too surprising. I remember myself being very pleased when
                          > looking at the harp bass notes in Bunting's early jottings for the
                          > first time because they were so familiar from what you hear in your
                          > head in unaccompanied Gaelic song, free from mainstream triadic
                          > harmonies and their chordal modulations.
                          >
                          > Beannachdan,
                          >
                          >
                          > Alasdair
                          >
                          >
                          >
                          >
                          >
                          > --- In clairseach@..., "Alasdair Codona"
                          > <calumcille@> wrote:
                          > >
                          > > A chàirdean,
                          > >
                          > > It looks like Albyn's Anthology isn't the explanation for the
                          > Gaelic
                          > > harmony in Logan' Bonnie Woods and Braes then; at least, not
                          > > directly. Thanks for that list of contents, Simon.
                          > >
                          > > Versions of the tune appear in over forty sources, Janet, so I'll
                          > let
                          > > you know how I get on!
                          > >
                          > > Beannachdan,
                          > >
                          > >
                          > >
                          > > Alasdair
                          > >
                          > >
                          > >
                          > >
                          > > --- In clairseach@..., simon@ wrote:
                          > > >
                          > > > > All would be explained
                          > > > > harmonically should it have come from Albyn's Anthology
                          > > >
                          > > > http://www.wighton.sol.co.uk/detail.cfm?id=104
                          > > >
                          > >
                          >
                        • Alasdair Codona
                          Dear Keith, Thanks for that information and those pointers in relation to Logan s Bonnie Woods and Braes. I thought I d dash off a fairly literal translation
                          Message 12 of 12 , Jan 2, 2009
                            Dear Keith,

                            Thanks for that information and those pointers in relation to Logan's
                            Bonnie Woods and Braes.

                            I thought I'd dash off a fairly literal translation and update the
                            spelling of the stanza of the Marbhrann for Iain Ruadh Mac Cuithein,
                            otherwise known as Iain Ruadh Pìobaire, for the benefit of the non-
                            Gaelic speaking amongst us.

                            thuirt a' ghloin' a bha 'n h-Àsdainn
                            mo sgeul chràiteach ro chruaidh
                            dh'fhalbh mo shùgradh s mo mhànran
                            thug am bàs leis Iain Ruadh
                            fear a chluicheadh a' chlàrsach
                            'dhèanadh dàn agus duan
                            cha b' e "Callainn a' chrampaidh"
                            fonn a b' fheàrr leis ga luaidh

                            The drinking glass that was in [h-]Àsdainn said,
                            "My painful, very hard tale!
                            My playfulness and my humming have gone.
                            Death has taken Red Iain with him;
                            A man who would play the harp,
                            Who would make poem and lay.
                            «Callainn a' chrampaidh» wasn't
                            A melody he preferred quoting."

                            Callainn (Kalends) is the New Year of course and Callainn a'
                            chrampaidh is the New Year of the versification, a reference to the
                            practice of making/reciting verses at that time.

                            If I had more time, I'd like to have a look at the arrangements in
                            Gesto to see which of them come from other sources and which are 'in
                            the form in which they had been given to him' as Llanerch state, him
                            being such an 'uncareful editor' and all. However, the next three
                            months are going to be taken up with laboriously coping out these ap
                            Huw transcriptions and putting them online ...

                            Beannachdan,



                            Alasdair





                            --- In clairseach@..., "sanger_keith"
                            <sanger_keith@...> wrote:
                            >
                            > Alasdair
                            >
                            > The thought occurs of how distant in generations K N MacDonald
                            > actually was from the last harp accompanied singers. Although
                            Murdoch
                            > MacDonald was regarded as last of the harpers in Scotland, the
                            dates
                            > are pushed later with the evidence of William MacMurchy, but both
                            of
                            > these are of course a long way from Skye and the Gesto sources.
                            >
                            > There is however the possibilty that the harp may have been present
                            > in some Skye connected families in South Uist well into the 18th
                            > century. The evidence, which is open to interpretation of how the
                            > verse is translated, comes from the 'Marbh-Rann do dh'Iain Ruadh
                            Mac
                            > Cuithean, Piobair ann an Uist a Chinn a Deas, 'nuair a tha e beo,
                            le
                            > Gilleaspuig Donullach am Bard Uisteach'
                            >
                            > The sixth veres is the one in question, and reads
                            > Thuirt a ghloin' a bha'n t-Asdain
                            > Mo sgeul craiteach, ro chruaidh
                            > D'fhalbh mo shugradh, 's mo mhanran,
                            > Thug am bas leis Iain Ruagh;
                            > Fear a chluicheadh a chlarsach,
                            > Dheanadh dan, agus duan,
                            > Cha b'e caluin a chrampaidh
                            > Fonn a b'fhearr leis 'g a luaidh.
                            >
                            > The poet was thought to have lived from circa 1750 to 1813, but as
                            > this comes from Cochruinneacha Taoghta de Shaothair nam Bard
                            Gaeleach
                            > by A Stewart and D Stewart which was published in 1804 must predate
                            > that time.
                            >
                            > The piper John Roy MacQueen is otherwise unknown and the name
                            > MacQueen is more associated with the Clan Donald lands on Skye and
                            > North Uist, although I do have a copy of an unfortunately undated
                            > Clanranald rental, but possibly circa 1740's, which does list an
                            > Archibald MacQueen in South Uist.
                            >
                            > There is a hint in the poem that the piper had been in the army and
                            > there is a John MacQueen who pops up in the Skye MacDonald papers
                            who
                            > was described circa 1730 as being in 'the Earl of Orkney's
                            > Regiment',which would be the regiment now known as the 1st of Foot
                            or
                            > the Royal Scots.
                            >
                            > But of course as I remarked at the start it is all down to
                            > interpretation. but an interesting poem none the less.
                            >
                            > Best wishes
                            >
                            > Keith
                            >
                            >
                            >
                            >
                            >
                            >
                            >
                            >
                            > --- In clairseach@..., "Alasdair Codona"
                            > <calumcille@> wrote:
                            > >
                            > > A chàirdean,
                            > >
                            > > I checked Albyn's Anthology today and it is by no means an
                            > > explanation for the harmony of Logan's Bonnie Woods and Braes so
                            > the
                            > > bass of Logan's Bonnie Woods and Braes would seem a fluke.
                            > >
                            > > Browsing through the Gesto volume, some other interesting
                            > > arrangements which catch my eye as magadising significantly are
                            > > Fàilte na Mórthìr (p23), Tha Dùrachd mo Chridhe Dhut (p52), and
                            > > Chaidh Mise dhan Tràigh (appendix p22). If folks would like me
                            to
                            > > put these in the Files section of the group, just let me know.
                            The
                            > > rhythm of his settings quite often doesn't match the stresses of
                            > the
                            > > songs which means that the bass can actually be hitting the
                            > > unstressed notes instead of the stressed ones.
                            > >
                            > > That such sonorities occurred to Keith Norman MacDonald as
                            > > appropriate even in his day is very interesting, although I don't
                            > > find it too surprising. I remember myself being very pleased
                            when
                            > > looking at the harp bass notes in Bunting's early jottings for
                            the
                            > > first time because they were so familiar from what you hear in
                            your
                            > > head in unaccompanied Gaelic song, free from mainstream triadic
                            > > harmonies and their chordal modulations.
                            > >
                            > > Beannachdan,
                            > >
                            > >
                            > > Alasdair
                            > >
                            > >
                            > >
                            > >
                            > >
                            > > --- In clairseach@..., "Alasdair Codona"
                            > > <calumcille@> wrote:
                            > > >
                            > > > A chàirdean,
                            > > >
                            > > > It looks like Albyn's Anthology isn't the explanation for the
                            > > Gaelic
                            > > > harmony in Logan' Bonnie Woods and Braes then; at least, not
                            > > > directly. Thanks for that list of contents, Simon.
                            > > >
                            > > > Versions of the tune appear in over forty sources, Janet, so
                            I'll
                            > > let
                            > > > you know how I get on!
                            > > >
                            > > > Beannachdan,
                            > > >
                            > > >
                            > > >
                            > > > Alasdair
                            > > >
                            > > >
                            > > >
                            > > >
                            > > > --- In clairseach@..., simon@ wrote:
                            > > > >
                            > > > > > All would be explained
                            > > > > > harmonically should it have come from Albyn's Anthology
                            > > > >
                            > > > > http://www.wighton.sol.co.uk/detail.cfm?id=104
                            > > > >
                            > > >
                            > >
                            >
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