"So he passed over. And all the trumpets sounded
for him on the other side."
[CANNTAIREACHD]
By Major J. P. Grant, M.C., Yr. of Rothiemurchus
It is related[14] by Sir John Graham Dalyell how in 1818, one John Campbell from Nether Lorn, brought "a folio in MS., said to contain numerous compositions," for the inspection of the judges at the annual piping competition held in Edinburgh under the auspices of the Highland Society: the story goes on, "but the contents merely resembling a written narrative in an unknown language, nor bearing any resemblance to Gaelic, they proved utterly unintelligible. Amidst many conjectures relative both to the subject and the language, nobody adventured so far as to guess at either airs or pibrochs." It is believed that this is the earliest authentic reference to the pipers notation known as Canntaireachd, and it is of interest to note that even as early as 1818,[15] among the class of Highland gentlemen who acted as judges at the biggest competition in the country, the very existence of the notation was unknown. Sir John mentions also that he made later attempts to acquire this MS. volume and to trace two others in the possession of John Campbell's father: his attempts were unsuccessful.
In 1828 Captain Macleod of Gesto published some pipe tunes in Canntaireachd as taught by the MacCrimmons in Skye. The merits of this publication have been made the subject of controversy among pipers and others; this controversy has no place in this paper. The late John Campbell (Iain Ileach) of Tales of the West Highlands, wrote a monograph on Canntaireachd in 1880, in which he reviewed Gesto's book: the monograph, interesting as it is and written in Iain Ileach's easy flowing style is extraordinarily disappointing. In spite of his comprehensive knowledge of folk-lore—more particularly of Gaelic folk-lore—he fails to indicate any probable source of this notation—probably no one in Europe was, or is better fitted to make conjectures on the point. However, he made two statements of interest in the late history of the notation, (1) that he had "often seen my nurse John Piper reading and practising music from an old paper manuscript, and silently fingering tunes. I have tried to recover this writing, but hitherto in vain," and (2) that there were three local varieties of the notation (a) MacCrimmon (b) MacArthur, and (c) Campbell of Nether Lorn. Now "John Piper" was this same John Campbell of the family of Nether Lorn, which possessed three MS. volumes of Canntaireachd.
Among the older-fashioned pipers in Scotland, even just before the war, one constantly heard syllables (hodroho, hiodro, etc., etc.) being used, generally at haphazard, seldom in their correct place. The astounding thing is that even fragments of a notation, the system of which had been out of use for so long, should have survived to this day.
About 1912 two of the Nether Lorn MS. books were rediscovered, and from them it has not been hard to reconstruct the system of notation. Those tunes with recognisably the same names as we know them by to-day, furnished the first step in the problem: after that it became easy to identify other tunes with different names, and finally to rediscover a number of tunes which have been lost for an undetermined period.