In piobaireachd, hold the fourth beat, not necessarily the first. Because the music is built in groups of four theme notes, the general pattern is to give real length to the fourth note of the group — a habit I learned from Donald MacLeod's own recordings and singing.
Piobaireachd notation is full of compromises you have to learn to see through. Fermatas, tied gracenotes standing in for real note values, and figures that don't match how the tune actually sounds are all normal — recognizing the gap between the page and the performance practice is part of learning the tradition.
A crunluath and a crunluath-a-mach both extend directly from the taorluath pattern. Once you understand the taorluath variation in a tune, swapping in the crunluath embellishment in its usual form — or the fuller crunluath-a-mach — follows logically rather than requiring you to learn an unrelated new figure.
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What Makes this Tune Great? I Got a Kiss of the King's Hand
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⏱️ In this class
01:17a piobaireachd Introducing favorite🔒
08:30sources: Historical The Piobaireachd and Art of memoirs🔒
09:34process My before research learning a tune big🔒
14:48we hold Why fourth in group note a the🔒
15:58What tapes from Donald I MacLeod's learned🔒
19:53overload gracenotes Decoding tied and fermata🔒
36:39ground first variations The and🔒
43:38variation taorluath Working the through🔒
50:35a Cadences singling in pause the flow that🔒
53:03crunluath taorluath crunluath-a-mach and to From🔒
About this class
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