By cadences I mean those notes often printed as grace-notes, GED, followed by C, B, low A, or low G melody notes, and GE followed by D, low A, or low G melody notes. The prefix 'hi' is in general terms used for this, e.g. hiharin, hihorodin. Taking them in above order, examples of the vocables used are, of the former, hihodin, hihioem, hihinbain, and hihambam, and of the latter hiaen, hienem, hiemto. It is one of the remarkable points in the MS. that these cadences are indicated to a far less extent than is played by traditional players of modern times, and I am as yet unable to make any deductions from the manner in which they appear as to the style in which the MS. intends them to be played. To avoid confusion between 'hi' as cadence and high G with A grace-note, it would be better to use the alternative 'chi' for the latter.
General
A study of the key will reveal various noticeable points, some of which I will touch on here. It will be seen that some of the composite vocables can be pulled to pieces into their component parts, e.g., hiotroeo, hinbandre, etc., while others can only be dissected to a lesser extent, e.g., hindaen in the Tripling or Taorluath Breabach; in this latter case the vocable must be read in its context, for hindaento might be Glow A, D, low A, DB, while standing by itself, but in conjunction with a string of others it is undoubtedly meant to be the Taorluath Breabach. Again there is liable to be confusion between 'en' low A without any and with an E grace-note, and in some few cases it is impossible to say definitely which is meant: on the other hand it is used in the siubhal variation, and there can be no doubt in such a context: hinen by itself is unambiguous, and in various combinations, e.g., hiaendre, it is highly probable that no E grace-note is intended. The question of the eo and o, B or C, is a little more difficult in theory, but in practice it will be found to narrow down to one or two instances; the most common instance of this ambiguity is odro, which may be either B grip C, or C grip C. It seems likely that this confusion is the origin of this difference in existing settings of various tunes, e.g., An Daorach Mhor (The Big Spree) Var. 1st and doubling, The Battle of Auldearn, The Carles of Sligachin and many others. Campbell often writes 'ho' for 'o,' obviously not intending a G grace-note, but to avoid this ambiguity.
Time signature and rhythm are, I think, sufficiently shown to enable a trained player to find no difficulty in playing; bar divisions are indicated by commas, and each part of each tune is divided into lines numbered 1st, 2nd, etc.: and a repeat is written at the end of the line to be repeated, thus: Two times or twice over. '3 times,' etc., is often used in the MS. to refer back only to the last comma, not to the beginning of the line. The smaller details of time, which I will call "pointing," is a matter of greater doubt. I have said above why I think Gaelic standards should be applied to the pronunciation of the vocables, and my opinion is that the same applies to this question in general terms: it can be said that as a rule the vocables are separated into distinct words, the accent or stress (and in this case the longer note) being represented as the first syllable of the word (an almost invariable rule in Gaelic). Thus one gets hodarid hiodarid—not daridho daridhio darid. Many exceptions can be pointed out no doubt, but the above will serve as a broad rule.
It should be made clear to any reader of this paper that it has been written in haste. Most of it is written from memory after four and three-quarter years separation from MSS., books and notes, and I have no doubt that mistakes will be discovered later. Further, it does not profess to be complete, for there are some vocables not included, the meaning of which is not yet clear to me.
The two volumes of the MS. contain 169 tunes of which I can trace in no other collection, printed or MS., 65 tunes: moreover, many tunes which exist already in printed collections are written in entirely different settings, and under different names from those known by present day players. To illustrate this I have included at the end of this paper the MS. style of An Ceapadh Eucorach (translated as the "Unjust Incarceration"). This setting, apart from smaller differences, contains one line in each part which, so far as my knowledge goes, is unknown to-day, and which in my opinion is an essential part of the theme, leading the 3rd line up to the musical climax of the ordinarily accepted 4th line.[17] The names of the tunes as written in the Index or as headings in the MS. present a very difficult problem. Some are in English; some are in recognisable Gaelic; some are in unrecognisable Gaelic, some give the first few notes of the tune, and some are ludicrous mistranslations of Gaelic into English. Only approximately 42 out of the total have anything like the names by which the tunes are known to-day.
It is to be hoped that some day soon the whole MS. will be printed, so that enthusiasts who have the time may really get to work and unravel some of the conundrums which still remain so. I have a feeling that the vocables used in so many Gaelic songs are distantly related to canntaireachd, and research into this might conceivably throw light on the larger question of the origin of canntaireachd. It would also be interesting to know of any examples of similar notations in foreign countries. But the main thing to be done by all pipers at the present day is to make real attempts to discover other canntaireachd manuscripts: and the ideal should be that all MSS. now known to exist or discovered at a later date should be made available for comparison and information of other players; this is best done by publication in as near the original form as possible, and failing that by loan or gift to some responsible piping society, such as the Scottish Pipers Society, The Piobaireachd Society, the Caledonian Pipers Society, London, The Inverness Pipers Society, The Highland Pipers Society, Edinburgh, or any other well-known society. This would ensure that the information would get into the hands of those who can most easily disseminate it.
AN CEAPADH EUCORACH
(From the Campbell MS. vol. i. p. 1.)
1st called Kepper Eggarich.