Appendix
It was at first intended that the Appendix to this book should contain a tutor to the bagpipe. It was, however, seen that to do this would not only be departing from the avowed character of the undertaking—the production of a thoroughly untechnical book, and one that would appeal to players and non-players alike—but it would also be encroaching on the preserves of the publishers of pipe music, nearly all of whom preface their volumes with a tutor. Other, and it is hoped, equally interesting matter has been substituted.
Appendix.
I — The Scale of the Pipes
BY JOHN MAC NEILL, LANGHOLM.
In making a few observations on the scale of the bagpipe (Piob-mhorna h-Alba) it is not necessary to go deeply into the evolution of instrumental music, but it may be well to state shortly that the earliest instruments devised for expressing musical sounds, that is sounds having a definite relation to one another, were of two distinct orders, the first probably being the reed or pipe, made of various materials, such as straw, reeds, bone, wood, or metal, blown by the mouth and giving a single note which varied in pitch according to the diameter and length of the tube or pipe through which the wind escaped. The second order was a stringed instrument wherein cords varied in length and thickness were fixed at both ends upon a suitable frame, and the sound was produced by plucking with the finger and allowing the cord to vibrate freely.
The next stage was to make vents or holes in the pipe, arranged so that they could easily be covered by the fingers, and as the sound always escaped by the hole nearest the reed, it was easy to produce a series of sounds by removing one or more fingers in succession. In a somewhat similar way, a series of sounds were obtained from the vibrations of a single cord by pressing, or merely touching, it at certain points, and thus shortening the portion which was allowed to vibrate.
The primary object of all music is to give pleasure through the ear by imitating, or reproducing, more or less correctly, the sound of the human voice, and other natural sounds, so we find that as early instruments began to be improved they were so constructed as to produce various notes having the same intervals between them as are found between the tones of the human voice. In this way instruments with a fixed scale were obtained, and we know that in course of time various nations improved the instruments they had in use, the ancient Greeks especially bringing the art of music and their favourite stringed instrument, the lyre, to a high degree of perfection.
The great defect of all the more ancient instruments was their limited compass, most of them containing from five to ten notes only, thus rendering it impossible to play anything upon them except by the same series of notes and at the same pitch. This was gradually remedied, both as regards wind and stringed instruments, by adopting various devices whereby their compass was extended, and by introducing, with more or less accuracy, new notes called semi-tones between the original notes. The modern method of tuning musical instruments by “equal temperament” was unknown until the time of Johann Sebastian Bach (1685–1750) who, disregarding the custom which had prevailed until his day, of writing in a few keys only, and tuning instruments so as to render these keys nearly perfect at the expense of the rest, himself tuned the instruments on which he played in “equal temperament.” When he first began to play music on the harpsicord, tuned in the old way, in other than the keys in which it was originally composed, the effect was almost unbearable, and it thus became necessary to alter the relation of the notes throughout the whole scale by framing a complete chromatic scale having exactly the same interval between each semi-tone. In this way every note was slightly altered from the true natural scale, but not to such an extent as to seriously offend the ear.
It is obvious that to have a perfect chromatic scale a separate string or pipe is required for each note in such instruments as the organ and pianoforte, while it is obtained in those of the flute and oboe class by making additional holes in the tube at the correct intervals and covering them with close-fitting pads with levers (keys) within convenient reach of the fingers. (Having mentioned the oboe, it may be remarked in passing that its tone has been called “bagpipe music sublimated.”) Various attempts have been made to adapt similar appliances to the chanter of the bagpipe, but the results have not been satisfactory, and its scale remains practically the same as it was two centuries ago. It will be shown, however, with the aid of the table of vibrations appended to this article, that it does not differ so widely from the natural or “equal temperament” scales as the critics allege.
The scale of the bagpipe closely resembles what is known as the Greek scale, having a flat seventh, if we take it as running from A to A|, with a supplementary note G (the lowest on the instrument). While this is true, a reference to the table of vibrations shows that other scales can be rendered with a fair amount of correctness. A great deal has been written on this subject, much of it tending to show that the bagpipe is hardly, if at all, entitled to be considered a musical instrument. One writer starts with the assumption that the first or lowest note is the keynote of its scale, and thereby, very easily, comes to the conclusion that all the rest of the notes are out of tune. As well might it be asserted that the lowest note in any piece of music is the keynote of such piece; and it is obvious that taking the highest note on the bagpipe for the keynote and descending, quite a different result would be arrived at. There are various other writers who seem unable to distinguish between the Great Highland Bagpipe and the Italian and French bagpipes. With these it has hardly anything in common except the name.
It is pretty certain that the pipe chanter was at first used without a bag, and blown directly from the mouth, as a practising chanter still is, and that its key was D, thus giving an equal number of notes above and below. Afterwards two drones were fitted into the bag along with the chanter, probably in unison with one another, and with the lower A on the chanter, the key of the Greek scale already referred to. The instrument remained in this form for a long period. In the seventeenth century probably a third and longer drone (dos mor) was added, tuned an octave below the others. The drones form a fixed bass, and, according to the well-established principle in music that the bass always ends with the keynote, this may furnish very good ground for saying that the true scale is A, with which, indeed, a very large proportion of pipe music ends. But taking the note D on the chanter as the keynote, it is found that the notes above it are nearly in perfect tune, as can be easily observed by playing any well-known air in that key that falls within the compass of the piob mhor. Of course, it can be seen at a glance from the table of vibrations annexed that the scale of D is very nearly the same as that of A with a flat seventh. The use of this flat seventh descending is so common in minor scales as to form, after the minor third, one of their chief characteristics; and it does not greatly offend even the critical cultivated modern ear, when not an accented note nor leading directly to the key note. According to the principle mentioned already, that the bass always ends with the key note, it must be assumed that A is really the key note of the bagpipe scale, seeing the drones are tuned to that note; and starting from that point we find that A, C, E, A| are Do, Mi, So, Do| of the scale of A. Taking the higher Do of this scale and descending a fifth, we find D (Fa), and taking this as the key of a new scale, we find that D, F, A|, A are Do, Mi, So, Soˌ of the scale of D. In the same way, taking the fifth below D—that is, G—we find that G, B, D, G| are Do, Mi, So, Do| of the scale of G. On referring to the table of vibrations it will be seen that all these notes are very nearly correct in the scales mentioned, whatever their Sol-Fa names, the only differences being that B should be a little sharper in the key of A than in D and G, and that E should be a little flatter in the key of G than in D and A. For comparison there is a column inserted in the table giving the vibrations according to “equal temperament” of the chromatic scale from G to A|. None of the notes of the bagpipe admit of being sharpened or flattened except the upper G, which can be slightly sharpened by opening the E hole along with G and E. The notes D, C, B can be slightly flattened by lifting one finger only, with all those below it closed, but passages requiring this fingering are hardly met with except in pibrochs (Ceòl mor). The scale given in the annexed table is, I venture to submit, the true scale of the bagpipe. It is as perfect as can constructed upon an instrument of such limited compass without the aid of valves, and places it much on a level with the other instruments in use up to the time of Bach, already referred to, whereby the approximate correctness of a few keys was obtained by the sacrifice of all the others. It is possible that pipe chanters may not always be bored with perfect accuracy, and that in the case of very old instruments the holes may get enlarged by wear so as to be more or less out of tune, but I think that the true “bearings” are as I have stated.
Is is to be noted that but very few of the airs of our Gaelic songs can be played on the bagpipe, a fact which we think goes far to prove that the instrument was designed and used for martial purposes in the open air. Indeed the timbre of the instrument renders it unsuitable for playing in concert with the human voice.
It is, I think, a matter of great satisfaction to all Highlanders and to those who love the race, that so many intelligent and praiseworthy efforts are being made at the present time to preserve and cultivate our national music.
The following is the table of vibrations of musical scales forming the foundations of the scale for the bagpipe:—
| Notes on the staff. | Sol-fa Names with Vibrations in | Equal Temperament. | True Pipe Scale. | ||||
|---|---|---|---|---|---|---|---|
| C | G | D | A | Staff. | Vibrations. | ||
| A | l 880 | rˈ 891 | so 891 | doˈ 891 | 891 | [audio/mpeg] | 891 |
| G sharp | t 835⁵⁄₁₅ | 841 | |||||
| G | so 792 | doˈ 792 | f 792 | 794 | 792 | ||
| F sharp | t 742½ | m 742½ | l 742½ | 750 | 742½ | ||
| F | f 704 | 706 | |||||
| E | m 660 | l 660 | r 666¼ | so 668¼ | 666 | 668¼ | |
| D sharp | 627 | ||||||
| D | r 594 | s 594 | do 594 | f 594 | 592 | 594 | |
| C sharp | tˌ 556⅞ | m 556⅞ | 559 | 556⅞ | |||
| C | do 528 | f 528 | 528 | ||||
| B | tˌ 495 | m 495 | lˌ 495 | r 501³⁄₁₀ | 499 | 495 | |
| A sharp | 471 | ||||||
| A | lˌ 440 | r 445½ | soˌ 445½ | doˌ 445½ | 445½ | 445½ | |
| G sharp | tˌ 417²¹⁄₃₂ | 420 | |||||
| G | soˌ 396 | do 396 | fˌ 396 | 397 | 396 | ||
Note.—These calculations are made assuming that C in the middle of the staff has 528 vibrations, but of course whatever pitch be taken the relative proportion of the notes remains the same. Fractions, except in the case of one note, are omitted in the scale of equal temperament.
II — Practical Hints
BY PIPE-MAJOR A. D. CAMPBELL, BONAR BRIDGE.
I — Carriage of the Pipes
If the player is standing the body should be perfectly upright, head erect, and eyes carelessly fixed on some object as high as himself. Great care should be taken that the shoulder on which the big drone rests is not allowed to rise, or yield in any way to the weight or blowing of the pipes; the head must not incline towards the big drone or droop backwards or forwards; the chest must be kept inflated and the shoulders square.
If the player is marching the shoulders should be allowed to swing to and fro, the motion proceeding from the haunches only and not exceeding what will suffice to give a free and easy step. His bearing should be stately and lofty in accordance with the warlike instrument on which he plays. In playing marching tunes the performer should never stand, if possible, and when marching should beware of taking short stilted steps. He should also practise reels in marching time, and play over irregular ground, in order to gain confidence and command over his instrument.
II — Blowing the Pipes
In blowing the bagpipe, the cheeks must never be inflated nor the face distressed in any way. There is really no hard work required, only a little careful practice, and everything should be done as easily and freely as possible. The bag does not at all times require to be filled to its full extent, a little more than three-fourths being usually sufficient. The player must not expend all his breath without resting, as by so doing he will not only hurt but disable himself. The arm should be pressed lightly on the bag, but allowed to yield gently to the wind as it comes from the mouth, the pressure being gentle and steady and according to the strength of the reeds. The player will at first find some little difficulty in satisfactorily managing the bag, but when he has succeeded he will be able to play in a free and commanding style, and will have surmounted a difficulty which is a great bugbear to all inexperienced players.
III — Tuning the Pipes
When the pipes are first struck in, the big and outer drones should be stopped by placing a finger over the hole of the bell of each. In doing this or at any time when only one hand holds the chanter, the E note should be sounded. The centre drone being nearest to the ear should, as a rule, be tuned first. Should this drone not be in tune with the chanter reed, a discord between them will ensue, and to get a chord the point of the drone must be moved up or down, as the case may require. By carefully listening to the chanter reed and moving the joint at the same time, the player will easily discover whether the sounds are assimilating or the discord increasing, and be able to suit his action accordingly, until the sounds blend into one. The low A must now be sounded, and the drone tuned to that note. (We may, however, tune to E, high G, or in fact any note, providing the chanter reed is true to all the notes, but in order to prove the reed and tune the pipes at the same time, low A is generally preferred.) Afterwards sound high A to prove whether the chanter reed is properly set, and true from low to high A. If it is, the drone also will be in perfect chord with the latter note. But should this not be the case and the drone cannot be brought to the exact pitch with both notes. The discord, however slight, must be divided between the two notes, and not left wholly on either. If the pipe or the reeds are not defective, this should never occur, and the reeds if properly fitted should tune about the centre of the joint. After the centre drone is properly tuned, the outer should be begun by placing the finger on the air-hole of the bell, or suddenly easing the arm. This drone is not tuned to the chanter reed but to the drone already tuned, in the same manner as that was tuned to the chanter reed. The big drone is tuned to the other two in a similar manner.
After the centre drone has been tuned to the chanter reed, raising the others to the same height in the tuning joint or in line with it, does not always put the drones in tune. The reeds may differ materially in tone, and they must be brought to the same pitch by studying the sounds only. When the pipes are in tune all four reeds will chord. One may be stronger or harsher than another, and still chord with it. It is sometimes difficult for the learner to find the tuning mark, as it is very exact. Care and practice makes it easy.
Young pipers should never play with their instruments out of tune, as this will accustom their ears to discords, and they will eventually be unable to tell when their pipes are in tune and when they are not. Suddenly moving the joints up or down to their full extent will be found capital practice for the beginner, as he cannot then fail to distinguish discords. He should then move them cautiously back as if feeling for something, and he will hear the jarring sounds gradually dying away until they blend in chord. In tuning, care must be taken that the pressure of wind on the reeds is exactly the same as when playing, otherwise discord is inevitable.
Beginners should use reeds in the centre and big drones only, as the pipes will then he easier blown, as well as easier tuned. The practice can be discontinued when the player is able to blow freely. The further down the drones are tuned the sharper the sound becomes, and the further up the flatter or deeper. So if the chanter should have a sharp sound the drone must also be made sharp, or vice versa. All new reeds are generally sharp, and become flatter the longer they are played on.
IV — Reeds and Their Defects
Reeds have many defects, and nothing but experience combined with care will make a piper thoroughly at home in dealing with them.
A new reed before being put into the chanter should be placed in water for a few minutes. If it has lain past for some time it should be left in the water longer, as the wood may have shrunk or the blades become too open or close. New reeds can never be thoroughly depended on, as they alter more or less with use. They should therefore never be cut or interfered with before being tried. They are also, as a rule, harder to blow than reeds which have been in use for some time; and, if after a fair trial, they are still found to be too strong, they may then be weakened at the discretion of the player. When a reed has a “dirling” sound on the low hand (generally A or G), it is either too weak or too lightly built. In the latter case, it will, combined with the “dirling” sound, have a want of fulness of tone, and cannot be readily improved. Should it be only too weak, it can be easily strengthened by being opened carefully and gradually with a specially made implement of some kind until it has a firm sound. This, of course, has to be done with great care, or the reed may be rendered useless. When a reed is too flat, the staple should be lowered into the chanter until the correct sound is produced. If the staple is as far down as it can be got a hairsbreadth may be cut from the point of the reed and the staple raised or depressed as required. If after this the reed becomes too strong, the blades may be slightly reduced with sandpaper. If the blades are already sufficiently thin, but the point of the staple too open, it can be made considerably closer by inserting a tapered instrument into the staple, and giving the latter a slight tap with a small hammer. In this, care must be taken that the instrument used is shaped as like the inside of the staple as possible. In the event of the reed being too sharp, the staple should be raised in the chanter as high as possible, when should it still prove too sharp, it may be opened in the way already described. This, however, should only be done when the staples or blades are too close, as although the tone is rendered flatter by the process the reed is more or less strained, which is apt to give it a sound insufficiently full, and render the playing laborious without any object being gained.
The player should always bear in mind that the longer reeds are in use the flatter they become. In cases where a reed is not very much out, it can be toned down by frequent playing, rather than by experimenting with it. When it is too strong and not too open in staples or blades it may be partly because it contains too much wood, a matter which can be easily rectified with fine sandpaper. A reed that is too strong owing to its being too open in the blades can be made considerably closer and easier to blow by taking a common cork, making a deep cut in the end of it, and inserting the blades of the reed into the cut, then tying a piece of cord round the cork sufficiently tight to close the blades, and leaving it in that position for a few days. The width of the staple should, however, be tested before this is done, as if it is too open making it closer by the process already explained will make the blades closer also, and save the trouble of using the cork.
It should be noticed that when chanter reeds have certain false notes, such as a sharp high A or a flat high G or E, this is caused by the reeds being improperly fitted, the points of the blades being too thin or the sides of the reed being too thick. Care must therefore be taken, when fitting a reed, that all the different notes are true, after which it should never again be touched except when actually requiring attention.
The beginner may find some difficulty in distinguishing the true sound when the chanter reed is in his mouth. He should therefore put it unto the pipe and sound it, when he will be better able to judge, as he will hear the sound from a greater distance. The chanter reed should always have a clear, distinct, shrill sound, accompanied with a full and firm tone in every note.
V — Drone Reeds
The small drone reeds should sound smooth and firm, with a clear humming sound, and the big drone reed deep and bass, and strong enough to bear the pressure of wind required for the chanter reed. New reeds are often hard to “strike in,” and have a rough or sharp tone. This is owing to their newness and dryness, and goes away with playing. They are also frequently inclined to close or stop. This is caused by the steam of the breath swelling the wood, and causing it to fall into its natural set. In this case, the tongue of the reed should be raised as high as it will admit of without straining, and the centre pressed down. Should it after this become too rough or flat, it can be rectified by bringing the tuning string a little towards the point of the tongue. Should this make it too weak for the strength of the chanter reed, the best plan is to raise the tongue and put a hair (out of the head) between the tongue and body of the reed, and as far back as the tuning string will permit.
When a drone tunes too far up, that is when the tuning mark is higher than the joint can be raised, it will be too sharp to admit of its chording with the chanter reed. In that case the reed should be lowered—i.e., given a smaller catch in the joint or drone. Should it still prove too sharp, the tuning string should be moved backwards towards the end placed in the joint. This ought to correct any ordinary reed. Should it fail, the reed must be too short and cannot be amended except by altering the chanter reed, which should never be done for such a purpose, the chanter reed being always first set and the others set to it.
When the tuning mark is too far down for the joint, and the tone cannot be rendered sufficiently sharp, the required sound will in most cases be produced by moving the tuning string towards the point of the tongue. Should this fail, the reed may be put further into the joint of the drone, or a very little cut off the end which goes into the joint.
When reeds have a rough, roaring sound they may be rectified by bringing the tuning string nearer the point of the tongue, as before described. A reed may have a burring, squealing, or double tone when blown up to the full pitch of the chanter reed. This may be caused by the tuning string being too tight, or it may be caused by the tongue being too heavy, in which case the proper note may be obtained by cutting one or more notches across the tongue. This will weaken the false sound, and with regular playing it will disappear.
It must be remembered that over-blowing a reed will cause it to “dirl,” and half covering any of the holes will cause the reeds to squeal. In blowing, also, if the regular strength of wind is withheld from the reeds, even for an instant, they will stop, or “hiccough,” as pipers term it. The results of these mistakes must not be attributed to the reeds.
An old reed may be made to wear much longer by putting one or more hairs under the tongue where the tuning string is placed and using a new tuning string.
A reed is said to be “water-locked” when it has become soft through continuous use. Drone reeds only are liable to become water-locked, and should never be over-played. When the mischief is done they must be laid aside until properly dry.
Wet reeds should be taken out before the pipes are laid past, and the water blown out of them. They should then be rolled between the hand and knee and the tongue slightly lifted, after which they should be replaced in the joints. Reeds should not be exposed to the air to dry. A common bottle makes an excellent receptacle for them.
Young pipers should on no account tamper or experiment with their reeds, unless they are perfectly certain of what they are to do, why they are to do it, and what the result will be.
VI — The Bag, and How to Keep It
For making the bag tight a paste composed of resin, beeswax and sweet oil boiled together is here recommended. This, when cool, should be slightly thicker than cream. After the stocks have been inserted a few spoonfuls of this paste should be put in (lukewarm), then the stocks stopped up and a little wind left in the bag to prevent its sides sticking. The skin should be rubbed and wrought until it becomes impregnated with the paste.
When pipes are much used, and the bag draws a good deal of water, the reeds will always be damp. To remedy this, a little salt may be put into the bag, which will cause the damp to be discharged through the skin. This, however, might make an old bag give way altogether. Water should never on any account be put into the bag.
The bag should always be soft and pliable. This can be managed in several ways. After being dried, say half a teacupful of melted brown sugar may be passed into it, and worked with the hands, the skin being then hung up overnight for the surplus sugar to run out.
VII — Keeping the Pipes in Order
Pipes as a rule should be cleaned thoroughly at least once a month, and if much played on once a week. Cocoa-nut oil will be found to serve the purpose best. When the pipes are to be cleaned the reeds should first be removed, and either placed in a bottle or rolled in a damp rag. The different joints should then be detached and the pieces cleaned outside and inside with an oily rag, a long feather saturated with oil being passed through the joints. If not required immediately, and after the reeds have been reinserted, the instrument should then be laid past in its oily state for a few hours. Before being used, the reeds should be again abstracted and all the parts carefully cleaned. Care must be taken that the warping on the joints is never allowed to get ragged or soaked with water, as this will cause the joints to crack, or swell the hemp, and render them difficult to move. The player cannot be too particular in satisfying himself that none of the joints are too tight. New pipes, especially in hot weather or warm climates, should before being used be laid up for a few days in cocoanut oil and exposed daily to the sun; care, however, being taken that they are not allowed to dry and that they are frequently turned and well wetted with oil. This will season the wood, and lessen the danger of splitting.
The young piper must not forget that it is the practice chanter that makes the piper, and he should never attempt to play a tune on the full set until he can play it thoroughly on the chanter. Quick and careless playing should always be avoided. Also, the player should endeavour to get into the spirit of the music by understanding the circumstances under which each particular tune was composed and the feelings it is meant to express. No man other than a Highlander can fully appreciate the piobaireachd or do justice to the wild, though majestic, strains. The histories of the various tunes, with the words to which they are set, would be invaluable to the player, and it is to be hoped that the present volume will do something towards emphasising all the grand old associations that cling round the Highland Bagpipe, and thus enable the public to appreciate it all the more and pipers to play it all the better.
III — Bibliography of Pipe Music
The list of books of pipe music is not very long, but the difficulties of making it complete and accurate are more than may at first appear. The principal difficulty is in the matter of dates, publishers, no doubt for good reasons, nearly always refraining from giving on their title page the year in which the book was first issued. Some of the older books, too, are now very rare, and there are not many people who have anything like a complete set. The following list has been compiled with every possible care:—
1784—Mac Donald—A collection of Highland Vocal Airs with a number of Country Dances or Reels of the North Highlands, a few Bagpipe Strathspeys and Reels set for the Violin, and also four Pibrochs, viz.:—Mac Intosh’s Lament, Mac Crimmon’s Lament, The Finger Lock, and Peace or War. Compiled and published by Rev. Patrick Mac Donald, minister of Kilmore, Argyllshire. Out of print.
1803—Mac Donald—A Treatise on the Theory, Principles and Practice of the Great Highland Bagpipe, to which is added one pibroch for a beginner; prepared by Joseph Mac Donald, Sutherlandshire, and published by his brother, Rev. Patrick Mac Donald, Kilmore. Out of print.
1818—“Amateur”—A Preceptor for the Great Highland Bagpipe, with a few favourite simple airs; written and edited by “An Amateur,” and published by Oliver & Boyd, Edinburgh. Price 3s. Out of print.
1822—Mac Donald—A collection of the Ancient Martial Music of Caledonia, called Piobaireachd, consisting of 23 pieces, as performed on the Great Highland Bagpipe. Now also adapted to the pianoforte, violin and violincello; with a few old Highland lilts purposely set for the above modern instruments; to which is prefixed a complete tutor for attaining a thorough knowledge of pipe music. Respectfully dedicated to the Highland Societies of London and Scotland by Donald Mac Donald, and published by Alex. Robertson & Co., Edinburgh. Republished in 1855 by Messrs. J. & R. Glen. Price £1 1s.
1828—Mac Leod—Canntaireachd, a collection of twenty Piobaireachd or pipe tunes, as verbally taught by the Mac Crimmon pipers in the Isle of Skye to their apprentices; published as taken from John Mac Crimmon, piper to the old Laird of Mac Leod and his grandson, the late John Mac Leod of Mac Leod. Edited by Captain Neil Mac Leod of Gesto. Reprinted in 1880 by Messrs. J. & R. Glen, Edinburgh.
1829—Mac Donald—A collection of Quicksteps, Strathspeys, Reels and Jigs, consisting of 120 tunes, arranged for the Highland Bagpipe. Edited and published by Donald Mac Donald & Son, pipe makers, Edinburgh. Republished by Messrs. J. & R. Glen in 1848 and frequently afterwards. Now in fifth edition. Price 2s.
1838—Mac Kay—A collection of Ancient Piobaireachd or Highland Pipe Music, consisting of sixty-one tunes, many of them adapted to the pianoforte, with instructions for learners of pipe music, sketches of the principal hereditary pipers, and historical and traditional notes respecting the origin of the various pieces. Edited and published by Angus Mac Kay, piper to the Queen. Second Edition published in 1839, also by Mac Kay. Price, £1 15s. Reprinted in 1899 by Logan & Co., Inverness. Price, £1 1s.
1841—Mac Kay—The Complete Tutor for the Great Highland Bagpipe, with a compendious selection of Marches, Quicksteps, Strathspeys, Reels, and Jigs, consisting of 100 tunes. The whole selected and arranged specially for the instrument by William Mac Kay, piper to the Celtic Society of Scotland. Published by Alexander Glen, Edinburgh. Corrected and improved by Angus Mac Kay in 1843 and republished by Mr. Glen. Price 4s. Out of print.
1843—Mac Kay—The Pipers’ Assistant, a collection of Marches, Quicksteps, Strathspeys, Reels, and Jigs, consisting of 155 tunes. Edited by Angus Mac Kay, piper to the Queen. Edinburgh, published by Alexander Glen, bagpipe maker, 30 West Regent Street, London, by Angus Mac Kay. Price 8s. Out of print.
1847—Gunn—The Caledonian Repository of Strathspeys, Reels, Jigs, and Quicksteps, consisting of about 200 pieces. Edited and published by William Gunn, piper, Glasgow. Enlarged by about a dozen tunes in 1867, and republished by Gunn. Republished in 1892 and 1889 by Peter Henderson, Glasgow. Price 6s.
1853—Mac Lachlan—The Pipers’ Assistant, containing 120 tunes. Compiled by John Mac Lachlan, piper to Neil Malcolm of Poltalloch, and published by Alex. Glen, Edinburgh. Price 6s. Out of print.
1860—Glen—The Caledonian Repository of Music for the Great Highland Bagpipe, consisting of Marches, Strathspeys, Reels and Quicksteps to the number of 120 tunes. Edited and published by Alexander Glen, Edinburgh. Revised and republished by David Glen in 1882. Price, 6s. Out of print.
1869—Ross—A collection of Marches, Strathspeys, Reels, and Pibrochs, consisting of 243 pieces. Edited and published by William Ross, piper to the Queen. Several editions since published, and book now contains 41 pibrochs and 437 marches, etc. Republished in 1900 by Mrs. Ross. Price, £1 10s.
1870–1871—Glen—Parts I., II., and III. of Glen’s collection for the Great Highland Bagpipe, consisting of about 160 tunes. Edited and published by J. & R. Glen, Edinburgh. Price, originally 3s. each part, now 1s.
1876–1901—Glen—Parts I. to XVII. of a collection of Bagpipe Music, consisting altogether of about 1000 pieces. Edited and published by David Glen. Edinburgh, at different times between 1876 and 1901. Price, each part, 1s; complete volume, with tutor, £1.
1876—Mac Phee—A selection of Music for the Highland Bagpipe, consisting of about 150 Quicksteps, Marches, Strathspeys, Reels, etc., with a complete tutor. Edited and published by Donald Mac Phee, Glasgow. Price, 6s., in cloth 7s. Republished in 1895 by Messrs. Logan & Co., Inverness, in two volumes, at 2s. each.
1880—Mac Phee—A collection of Pibrochs, consisting of 37 tunes. Edited and published by Donald Mac Phee, bagpipe maker, Glasgow. Republished in 1885 by Messrs. Logan & Company, Inverness. Price, 8s.
1880–1899—Glen—Parts I. to IV. of a collection of Ancient Piobaireachd or Highland Pipe Music, consisting altogether of 55 tunes; arranged, revised, and published by David Glen, Edinburgh, at different times between 1880 and 1899. Price 4s. each part.
1881—Glen—David Glen’s Highland Bagpipe Tutor, with a selection of Quicksteps, Strathspeys, Reels, and Jigs, amounting to 50 tunes. David Glen, Edinburgh. Price, 3s. Now in 13th thousand, price, 1s.
1887—Mac Kinnon—A collection of Highland Pipe Music, consisting of Marches, Strathspeys, and Reels to the number of 82 tunes, with a complete Tutor. Edited and published by Robert Mac Kinnon, bagpipe maker, Glasgow. Republished by Mr. Mac Kinnon in 1898. Price 4s.
1888—Henderson—Henderson’s Bagpipe Collection of Marches, Strathspeys, and Reels, extending to 138 tunes. Edited and published by Peter Henderson, bagpipe maker, Glasgow. Price 5s.
1891—Henderson—Henderson’s Bagpipe Tutor and Collection of Marches, Strathspeys, and Reels, to the extent of 56 pieces. Price 2s.
1899—Bett—A Collection of Pibrochs, Marches, Strathspeys, and Reels, consisting of 198 tunes. Edited and published by James Bett, Strathtay. Price, £1 1s.
1899—Logan—A collection of Marches, Quicksteps, Laments, Strathspeys, Reels, and Country Jigs, consisting of sixty pieces. Logan & Co., Inverness. Price 1s.
1900—Henderson—Henderson’s Tutor for the Bagpipe and collection of Marches, Strathspeys, Reels, Country Dances, Jigs, etc., consisting of 197 pieces. Peter Henderson, Glasgow. Price 7s. 6d.
1900—Thomason—A collection of Piobaireachd as played on the Great Highland Bagpipe—Ceol Mòr—compiled, edited, and rendered in a new and easily acquired notation by Major-General C. S. Thomason, R.E. (Bengal). Published by C. S. Thomason, c/o S. Sidders & Co., 17 and 19 Ball Street, Kensington, London, W.
IV — Gold Medalists of the Highland Society of London
In 1781, the Highland Society of London instituted competitions in pibroch playing. It was not, however, until 1835 that the gold medal now so well known as the highest honour attainable by pipers, was first awarded. The following is a list of the first prize winners and gold medalists so far as it has been found possible to obtain them. Unfortunately for the absolute authenticity of the list, the records of the Highland Society were lost in a fire sometime ago, and the secretary, therefore, could not supply them officially. It has, however, been carefully compiled from Angus Mac Kay’s book of pipe music, the files of the Glasgow Herald and those of the Inverness Courier, and it may be relied on as thoroughly accurate:—
1781 —Patrick Mac Gregor, Ardradour, Perthshire. 1782 —John Mac Allister, West Fencible Regiment. 1783 —Neil Mac Lean, Airds. 1784 —John Mac Gregor, senr., Fortingall. 1785 —Donald Mac Intyre, senr., Rannoch. 1786 —Roderick Mac Kay, North Berwick. 1787 —Archibald Mac Gregor, Glenlyon. 1788 —John Mac Gregor, Strathtay. 1789 —Duncan Mac Nab, Lorne. 1790 —Robert Mac Intyre. 1791 —Donald Mac Rae, Applecross. 1792 —John Mac Kay, Raasay. 1793 —John Mac Gregor, Breadalbane Fencibles. 1794 —Angus Cameron. 1795 —Peter Mac Gregor. 1796 —Donald Fisher, Breadalbane. 1797 —Alexander Mac Gregor, Glenlyon. 1798 —Donald Mac Earchar. 1799 —Dugald Mac Intyre. 1800 —George Graham. 1801 —William Forbes. 1802 —John Buchanan, 42nd Highlanders. 1803 —Donald Robertson, Edinburgh Volunteers. 1804 —Malcolm Mac Gregor. 1805 —Duncan Mac Master, Coll. 1806 —John Mac Gregor, London. 1807 —Donald Mac Nab. 1808 —John Mac Gregor, 73rd Regiment. 1809 —Peter Forbes, Foss. 1810 —Allan Mac Lean, Mull. 1811 —John Mac Gregor. 1812 —Donald Mac Gregor. 1813 —Finlay Mac Leod. 1814 —Robert Mac Kay, Sutherlandshire. 1815 —John Mac Kay, Sutherlandshire. 1816 —Donald Mac Kay, Glasgow. 1817 —Donald Mac Donald, Argyllshire. 1818 —Allan Mac Donald. 1819 —John Campbell. 1820 —William Mac Kay, piper to Celtic Society. 1821 —Adam Graham. 1822 —Donald Mac Kay. 1823 —John Mac Kenzie. 1824 —Donald Scrimgeour. 1825 —Donald Stewart. 1826 —John Gordon. 1829 (First triennal competition)—John Mac Nab, 92nd Highlanders. 1832 —Roderick Mac Kay, Abercairney. 1835 (First competition for gold medal)—John Mac Kenzie, piper to the Marquis of Breadalbane.17 1838 —John Mac Beth, piper to Highland Society of London. 1841 —Donald Mac Innes, late piper to Colonel Mac Neill of Barra. 1844 —Donald Cameron, piper to Sir James J. R. Mac Kenzie of Scatwell.
There is a blank between 1844 and 1859 which it has not been found possible to bridge. In 1844 we leave the competitions being held triennially at Edinburgh; in 1859 we find the Gold Medal being competed for at the Northern Meeting, Inverness, as “a new feature.” Several other competitions are reported during these fifteen years, and well-known names are given as prize-winners, but there is no mention of the Highland Society’s Gold Medal. It would be interesting to know if the competition was discontinued during these years.
1859 (First competition under auspices of Northern Meeting, Inverness)—Donald Cameron, piper to Seaforth.
1860—Alex. Mac Lennan, pipe-major, Inverness Militia.
1861—D. Mac Kenzie, 25th Borderers, Shorncliffe.
1862—Alex. Cameron, Greenock Rifle Volunteers.
1863—Ronald Mac Kenzie, 78th Highlanders.
1864—Alex. Mac Donald, piper to Mac Pherson of Glentruin.
1865—Colin Cameron, piper to Mr. Malcolm of Glenmarog.
1866—Wm. Mac Kinnon, 74th Highlanders, Limerick.
1867—John Mac Lennan, piper to the Earl of Fife. Donald Cameron, piper to Mr. K. W. S. Mac Kenzie, of Seaforth, was this year “Champion of Champions.”
1868—Andrew Gordon, piper to the Earl of Seafield, Balmacaan, Glen-Urquhart.
1869—Wm. Mac Donald, piper to the Prince of Wales.
1870—Alex. Cameron, piper to the Marquis of Huntly.
1871—Malcolm Mac Pherson, piper to Cluny Mac Pherson.
1872—Donald Mac Kay, piper to Sir George Mac Pherson Grant, Bart., of Ballindalloch.
1873—Duncan Mac Dougall, piper to the Earl of Breadalbane. Champion of Champions, Ronald Mac Kenzie, 78th Highlanders.
1874—John Smith, 93rd Highlanders, Lochgilphead.
1875—Ronald Mac Kenzie, piper to Neil Mac Donald of Dunach.
1876—John Mac Kenzie, Royal Caledonian Asylum, London. Champion of Champions, Duncan Mac Dougall, piper to the Earl of Breadalbane.
1877—John Mac Bean, piper to Lord Middleton.
1878—Lewis Grant, piper to the Earl of Seafield. 1879—William Mac Lennan, Dundee. 1880—John J. Connan, piper to John H. Dixon, Inveran. 1881—Angus Mac Rae, piper to Mr. E. H. Wood of Raasay. 1882—Angus Mac Donald. South Morar. 1883—A. D. Longair, 2nd A. and S. Highlanders. 1884—John Mac Coll, Oban. 1885—Pipe-Major J. Mac Dougall Gillies, Glasgow. 1886—R. Meldrum, 93rd Sutherland Highlanders. 1887—Alex. Fletcher, Invermoriston. 1888—William Boa, piper to Mr. Dixon of Inveran. 1889—John Mac Kay, 4th A. and S. Highlanders. 1890—John Mac Donald, Glentromie Lodge, Kingussie. 1891—Colin Thomson, 3rd Seaforth Highlanders. 1892—John Cameron, 2nd Cameron Highlanders. 1893—Pipe-Major Matheson, 3rd Highland Light Infantry. 1894—Pipe-Major D. Campbell, Scottish Rifles. 1895—Murdo Mac Kenzie, piper to Mr. A. G. Butter of Fascolly. 1896—Alec. Mac Kenzie, Resolis, Invergordon. 1897—Wm. Campbell, second piper to the Queen. 1898—Murdoch Mac Kenzie, Church Street, Inverness. 1899—D. C. Mather, Lochcarron. 1900—W. G. Meldrum, Moy Hall.
The Highland Society of London, have also, since 1875, presented a gold medal at the Argyllshire Gathering, to be competed for under the same conditions as that at the Northern Meeting. The two medals are of about equal value, and, though neither can be won twice by the same competitor, one piper may win both. The following are the prize winners at the Argyllshire Gathering, as kindly supplied by the secretary, Mr. Alexander Sharp, Oban:—
| 1875, | Sept. | 8.— | John Mac Bean, Culloden. |
| 1876, | „ | 13.— | Malcolm Mac Pherson, Cluny. |
| 1877, | „ | 12.— | John Mac Bean, Culloden. |
| 1878, | „ | 11.— | William Mac Lennan, Inverness. |
| 1879, | „ | 10.— | George Mac Donald, South Morar. |
| 1880, | „ | 15.— | Pipe-Major Robert Mac Kinnon, Skipness. |
| 1886, | „ | 8.— | Pipe-Major Robert Meldrum, Argyll and Sutherland Highlanders. |
| 1887, | „ | 14.— | Pipe-Major John Mac Kay, 4th Argyll and Sutherland Highlanders, Paisley. |
| 1888, | „ | 12.— | Kenneth Mac Donald, Braemar. |
| 1889, | „ | 11.— | John Mac Pherson, Cluny. |
| 1890, | „ | 10.— | Norman Mac Pherson, Loch Lomond. |
| 1891, | „ | 9.— | D. C. Mather, Loch Carron. |
| 1892, | „ | 14.— | A. R. Mac Coll, Oban. |
| 1893, | „ | 13.— | Pipe-Major Wm. Robb, 91st Highlanders. |
| 1894, | „ | 12.— | Pipe-Major George Ross, Black Watch. |
| 1895, | „ | 11.— | John Mac Kenzie, Glasgow. |
| 1896, | „ | 9.— | Gavin C. Mac Dougall, Aberfeldy. |
| 1897, | „ | 8.— | John Mac Donald, Kingussie. |
| 1898, | „ | 14.— | Farquhar Mac Rae, Glasgow. |
| 1899, | „ | 13.— | Murdo M’Kenzie, Inverness. |
| 1900, | ——— | No Gathering. | |
From 1880 till 1886 no Medal was given.
V — Directory of Bagpipe Makers
The making of bagpipes is almost, if not quite confined to Scotland. One or two firms in London profess to be makers, but they either make very little or get the instruments from Scotland. There are no makers abroad, but a large trade is done by Scottish makers with colonial customers. The following is a list of all the makers of any professional standing:—
Aberfeldy—
Gavin Mac Dougall.
Dundee—
David Thow, 45 and 47 Gellatly Street.
Edinburgh—
John Centre & Sons, 12 Grove Street.
David Glen, 8 Greenside Place.
J. & R. Glen, North Bank Street.
J. & W. Hutcheon, 3 Niddry Street.
Glasgow—
Peter Henderson, 100 Renfrew Street.
Robert Mac Kinnon, 59 Renfrew Street.
VI — The Largest Known List of Pibrochs
The following list of pibrochs, which is the index to Major-General Thomason’s Ceol Mor,18 is the most complete that has ever been published. With the exception of three new tunes included in The Music of the Clan Mac Lean, and one or two others, it contains all the pibrochs known to present day players, while the particulars as to composers’ names and dates of origin are more full than anyone else has attempted:—
| English. | Gaelic. | Author and Date. |
|---|---|---|
| Abercairney’s Salute | Fàilte Aberchàrnaig | |
| Aged Warrior’s Lament, The | Cumha Chlaibh | |
| Allan, Lament for Young | Cumha Ailein Oig | |
| Altearn, The Battle of | Blàr Allt-Eire | 1645. |
| Anapool, Lament for Lady | Cumha Ban-tighearna Anapuil | |
| Antrim, Lament for the Earl of | Cumha Iarla Antruim | |
| Argyll’s Salute | Fàilte Marcus Earraghaidheal | |
| Army, The Red Tartaned | An t-arm breac dearg | |
| Athole, The Battle of | Blàr Athol | |
| Athol Salute, The | Fàilte Dhiuc Athol | |
| Away to your tribe, Ewen, or Lochiel’s Salute | Gu do bhuidheann Eoghainn | |
| Balladruishaig, The Battle of | Blàr Bhaile Dhruisheig | |
| Battle of the Bridge (or Inch) of Perth, The | Ceann drochaid Pheairt | |
| Battle of Doirneag, The | Blàr nan Dòirneag | |
| Battle of Glenshiel, The | Blàr Ghlinn Seile | J. D. Mac Kay. |
| Bealach na bròige, The Battle of | Blàr Bealach na bròige | |
| Beinn na Greine | Beinn na Gréine | |
| Bells of Perth, The | Cluig Pheairt | |
| Beloved Scotland, I leave Thee gloomy | Albainn bheadarach’s mise ’gad fhàgail | |
| Berisdale Salute, The | Fàilte Morair Bharisdail | A. Mac Lennan. |
| Bicker, The | Port a’ Mheàdsair | |
| Big Spree, The, or You’re drunk and had better sleep | An Daorach mhor (Tha’n daorach ort’s feairrd thu cadal) | |
| Black Donald of the Isles, March of | Piobaireachd Dhomhnuill Duibh | |
| Black Watch’s Salute, The | Fàilte an Fhreiceadain Duibh | J. Mac Donald, 1730. |
| Blind Piper’s Obstinacy, The | Crosdachd an Doill | J. D. Mac Kay. |
| Blue Ribbon, The (the Grants) | Riobain Gorm nan Granndach | |
| Blue Ribbon, The (Isle of Mull) | Riobain Gorm an Eilein Mhuilich | |
| Boat Tune, The | Port a’ Bhàta | |
| Boisdale Salute, The | Fàilte Fir Bhaosdail | |
| Borlum’s Salute, The Laird of | Fàilte Thighearna Bhorluim | |
| Breadalbane, Lament for Lord | Cumha Morair Braidalbainn | |
| Brothers’ Lament, The | Cumha nam Bràithrean | |
| Cameron, Donald, Lament for | Cumha Dhomhnuill Chamaroin | K. Cameron, 1893. |
| Camerons’ Gathering, The | Cruinneachadh nan Camaronach | |
| Campbell, G., of Calder’s Salute | Fàilte Sheòrais òig Tighearna Chaladair | |
| Campbell of Kintarbet’s Salute, Lachlan Mac Neill | Fàilte Mhic Néill Chinn-tairbeart | J. Mac Kay, Snr., 1837. |
| Carles wi’ the Breeks, The | Bodaich nam Briogaisean | |
| Carles of Sligachin, The | Bodaich Shligeachain | |
| Catherine’s Lament | Cumha Chatriona | |
| Catherine’s Salute | Fàilte Chatriona | |
| Castle Menzie or Fraser’s Salute | Caisteal a’ Mheinneirich—Piobaireachd Uaidh, Fàilte Cloinn Shimidh | |
| Charich’s, Alastair, March | Spaidsearachd Alastair Charaich | |
| Cheerful Scotland | Albainn Bheadarach | |
| Children, The Lament for the | Cumhna na Cloinne | P.M. Mac Crimmon. |
| Chisholm’s Salute | Fàilte ’n t-Siosolaich | |
| Chisholm of Strathglass’s Salute | Fàilte Siosalach Srath-Ghlais | |
| Choaig, Patrick, A Satire on | Lasan Phadruig Chaoig Mhic Cruimein | D.M. Mac Crimmon. |
| Ciar, Lament for John | Cumha Iain Chéir | |
| Ciar, Salute for John | Fàilte Iain Chéir | |
| Clan Chattan, The Gathering of | Cruinneachadh Chloinn Chatain | |
| Clan Ranald’s Salute | Fàilte Chloinn Raonuill | |
| Claverhouse, Lament for | Cumha Chléibheir | |
| Cleaver, General, Lament for (?) Claverhouse | Cumha Chléibheir | 1689. |
| Comely Tune, The | Ant-Ailteachd | |
| Company’s Lament, The | Cumha na Cuideachd | |
| Contullich, Lament for the Laird of | Cumha Fir Chontullaich | 1714. |
| Craigellachie, The Grants’ Gathering | Creag Ealachaidh | |
| Crun-luath Tune, The | Port a’ Chrunluaith | |
| Daughter, Lament for the | Cumha na h-ìghne | |
| Davidson of Tulloch’s Salute | Fàilte Tighearna Thulaich | |
| Dead, Lament for the | Cumha nam Marbh | |
| Desperate Battle Cuchulin, The | Cath fuasach Chuchulinn | |
| Donald Gruamach’s Lament for his elder Brother | Spaidsearachd Dhomhnuill Ghruamaich | D. Gruamach. |
| Doyle’s, Lady, Salute | Fàilte Bain-Tighearna Dhoile | J. Mac Kay. |
| Drizzle on the Stone | Ceob air cloich | R. Mac Dougal. |
| Duke of Perth’s March, The | Spaidsearachd Dhiùc Pheairt | Finlay Dubh Mac Rae, 1715. |
| Duncan Mac Rae of Kintail’s Lament | Cumha Dhonnachaidh Mhic Iain | |
| Duntroon’s Salute | Fàilte Dhùntròin | |
| Duntroon’s Warning | Caismeachd Dhuntroin | |
| Dunyveg, Lament for the Castle of | Cumha Caisteal Dhun-Naomhaig | 1647. |
| Earl of Ross’s March, The | Spaidsearachd Iarla Rois | D. M. Mac Crimmon, 1600. |
| Earl of Seaforth’s Salute | Fàilte Uilleam Duibh Mhic Coinnich | Finlay Dubh Mac Rae, 1715. |
| Elchies Salute, or Mac Nab’s Salute, | Fàilte Elchin, na Fàilte Chloinn an Aba | |
| End of the Great Bridge, The | Ceann na Drochaide mòire | |
| End of Isheberry Bridge, The | Ceann Drochaid Iseberri | |
| End of the Little Bridge | Ceann na Drochaide bige | 1645. |
| Ewen of the Battles | Eoghan nan cath | |
| Extirpation of the Tinkers, The | Sgrios nan Ceàird | |
| Fair Honey | A mhil bhraonach | |
| Fairy Flag, The | A’ bhratach Shìth | |
| Fare thee well, Donald | Soiridh leat a Dhómhnuill | |
| Finger Lock, The | A’ Ghlas Mheur | |
| Finlay’s Lament | Cumha Fhiounlaidh | |
| Forbes, Lament for Colonel | Cumha Chorneil Forbes | D. Fraser. |
| Frenzy of Meeting, The (or Lament for Brian O’Duff) | Faoin Bhaile na Coinneimh | J. Mac Kay, or Donald Mac Dougal. |
| Frisky Lover, The | An Suiriche sîogach | |
| Fuinachair | Fiunnachair | |
| Glen is mine, The | ’S leam fheim an Gleann | |
| Glengarry, Lament for | Cumha Mhic-Alastair | A. Munro. |
| Glengarry’s March | Cille Chriosda | |
| Gordon’s Salute, The | Fàilte nan Gordonach | |
| Gower, Lament for Lord Fred Leveson | Cumha Morair F. L. Gobhair | |
| Grain in Hides and Corn in Sacks | Grain an Seicheannan ’s siol am pocannan | |
| Great Supper, Lament for the | Cumha na Suipearach móire | Mac Dougal. |
| Groat, The | An Gròta | |
| Gunn’s Salute | Fàilte nan Guineach | |
| Hail to my Country | Fàilte do m’ dhùthaich | Ed. June, 1896. |
| Half-Finished Piobaireachd, The | Am Port leathach | P. M. Mac Crimmon and J. D. Mac Kay. |
| Hamilton, Lament for the Duke of | Cumha Dhiùc Hamiltoin | |
| Harp Tree, Lament for the | Cumha Craobh nan teud | |
| Hen’s March o’er the Midden, The | Glocail nan cearc | John Dall Mac Kay. |
| Hey! for the old Pipes | Dastriom gu’n seinnam piob | |
| Highland Society of London’s Salute, The | Fàilte Comunn Gaidhealach Lunainn | John Mac Kay. |
| Highland Society of Scotland’s Salute, The | Fàilte Commun Gaidhealach Albainn | Prof. Mac Arthur, 1796. |
| I got a kiss of the King’s hand | Fhuair mi pòg o laimh an Righ | D. M. Mac Crimmon, 1651. |
| Inveraray, Salute to | Fàilte Ionaraora | |
| Inverness | Inbhirneis | |
| Islay, Farewell to the Laird of | Soraidh Tighearna Ileath | A. Mac Kay, 1840. |
| Isle of Skye | Eilean a’ Cheo | a Mac Crimmon |
| James VI.’s Salute | Cumha Righ Seumas an seathamh | |
| King George III., Lament for | Cumha Righ Seoras a tri | |
| King James’ Departure, Lament for | Siubhal Sheumais | 1688. |
| King’s Taxes, The | Màl an Righ | |
| Kinloch Moidart’s Salute | Fàilte Fir Cheannloch-Mùideart | |
| Kinloch Muideart—Lament for Mac Donald of | Fàilte Fir Cheannloch-Mùideart | |
| Laggan Salute, The | Fàilte Lagain | D. Mac Kay, 1871. |
| Laird of Anapool, Lament for the | Cumha Fir Anapuil | |
| Lament for Abercairney | Cumha Aberchàrnaig | |
| Leaving Kintyre | Fàgail Chinntire | |
| Leigh, Col., Farewell to | Soraidh Chòirneil Leigh | C. S. Thomason, 1893. |
| Little Finger Tune, The | Port na Lùdaig | |
| Little Spree, The | An Daorach bheag | |
| Little Supper, Lament for the | An t-Suipear bheag | |
| Loch Carron-point, The Battle of | Blàr an t-Srian | 1602. |
| Lord Lovat, Lament for | Cumha Mhic Shimidh | |
| Mac Cruimein, Donald Ban, Lament for | Cumha Dhòmhnuill Bhain Mhic Cruimein | |
| Mac Cruimein, Patrick Og, Lament for | Cumha Phàdruig Oig Mhic Cruimein | J. D. Mac Kay. |
| Mac Cruimein will never return | Cha till, cha till, cha till mi tuille | D. B. Mac Crimmon, 1746. |
| Mac Cruimein’s Sweetheart | Mal Dhonn | |
| Mac Donald of the Isles, Lament for Sir James | Cumha an Ridire Seumas Mac Dhomhnuill nan Eilean | C. Mac Arthur. |
| Mac Donald of the Isles, Lament for Sir James | Cumha an Ridire Seumas Mac Dhomhnuill nan Eilean | W. Mac Donald of Vallay. |
| Mac Donald of the Isles Salute | Fàilte Mhic Dhòmhnuill nan Eilean | |
| Mac Donald of the Isles, Sir James, Salute | Failte an Ridire Seumas Mac Dhòmhnuill nan Eilean | |
| Mac Donald, Lament for Lady | Cumha Bain-tighearna Mhic Dhomhnuill | Angus Mac Arthur, 1790. |
| Mac Donald, Lord, Lament for | Cumha Morair Chloinn Dhomhnuill | A. Mac Arthur, 1796 |
| Mac Donald of Morar, Ronald, Lament for | Cumha Raonuill Mhic Ailein óig | |
| Mac Donald’s, Angus, Assault | Ionnsaidh Aonghais Bhig Mhic Dhomhnuill | |
| Mac Donalds are simple, The | Tha Clann Dòmhnuill socharach | |
| Mac Donalds of Clanranald’s gathering at Sheriffmuir | Cruinneachadh Chloinn Roonuill (Sliabh an t-Siorra) | 1715. |
| Mac Donalds of Clan Ronald, The Gathering of the | Cnocan Ailean Mhic Iain | |
| Mac Donald’s, Lady Margaret, Salute | Fàilte Bain-tighearna Mairearad | |
| Mac Donalds, March of the | Spaidsearachd Mhic Dhòmhnuill | |
| Mac Donald’s Salute, Lady Margaret | Fàilte Bain-tighearna Mhic Dhomhnuill | |
| Mac Donalds’ Salute, The | Fàilte Chloinn Domhnuill | D. M. Mac Crimmon. |
| Mac Donalds, The Parading of the | Uaill Chloinn Dòmhnuill | |
| Mac Donald’s Tutor | Oide-ionnsachaidh Mhic Dhòmhnuill | |
| Mac Donell, Alex., of Glengarry’s Lament | Cumha Alastair Dheirg | |
| Mac Donell of Laggan’s Lament, | Cumha Dhomhnuill an Lagain | |
| Mac Dougall, Lament for Captain | Cumha Chaiptein ’Ic Dhughaill | Ronald Mac Dougall. |
| Mac Dougall’s Salute, The | Fàilte Chloinn Dùghaill | R. Mac Dougall. |
| Mac Duffs’ Gathering, The | Cruinneachadh Chloinn Duibh | |
| Mac Farlanes’ Gathering, The | ’Thogail nam bò | |
| Mac Gregors’ Gathering, The | Cruinneachadh nan Griogarach | |
| Mac Intosh, Lament for | Cumha Mhic an Toisich | |
| Mac Intoshs’ Banner, The | Bratach Mhic an Toisich | |
| Mac Intyre’s Salute | Fàilte Mhic an t-saoir | |
| Mac Kays’ Banner, The | Bratach Chloinn Mhic Aoidh | |
| Mac Kay’s, Donald Dugal, Lament, or Lord Reay’s Lament, | Cumha Dhomhnuill Dhughail Mhic Aoidh | D. M. Mac Crimmon |
| Mac Kays’ March, The | Spaidsearachd Cloinn Mhic Aoidh | |
| Mac Kenzie of Applecross’s Salute | Fàilte Tighearna na Coimirich | A. Mac Kay. |
| Mac Kenzie, Donald—his Father’s Lament for | Cumha Dhòmhnuill Mhic Coinnich (le’Athair) | |
| Mac Kenzie of Gairloch’s Lament, | Cumha Tighearna Gheárloch | J. Mac Kay. |
| Mac Kenzie of Gairloch’s Salute | Fàilte Thigearna Gheàrloch | |
| Mac Kenzie, Lament for Colin Roy | Cumha Chailein Ruaidh Mhic Coinnich | |
| Mac Kenzie’s, Capt. D., Lament | Cumha ’Chaiptein D. Mhic Coinnich | |
| Mac Kenzies’ Gathering, The | Tulloch Ard | |
| Mac Kenzies’ Gathering, The—Tulloch Ard | Cruinneachadh Chloinn Choinnich (Tulloch Ard) | |
| Mac Lean, Great John, Lament for | Cumha Ian Ghairbh Mhic Illeathain | |
| Mac Lean of Coll, Lament for Sir John Garve | Cumha Iain Ghairbh Mhic ’Illeathain | |
| Mac Lean, Lachlan Mor, Lament for | Latha Sron a’ Chlachain | |
| Mac Leans’ Gathering, The | Cruinneachadh Chloinn Ghilleathain | |
| Mac Leans’ Gathering, The | Spaidsearachd Chloinn Ghilleathain | |
| Mac Lean’s, Hector, Warning | Caismeachd Eachain Mhic Ailein nan Sop | 1579. |
| Mac Leans’ March, The | Spaidsearachd Chloinn Ghilleathain | |
| Mac Lean, Lament for Hector Roy, | Cumha Eachainn Ruaidh nan cath | A. Mac Lean, 1650. |
| Mac Leod, A Taunt on | Port Geàrr Mhic Leòid | |
| Mac Leod of Colbeek, Lament for | Cumha Mhic Leòid Cholbec | J. Mac Kay. |
| Mac Leod, dispraise of, | Di-moladh Mhic Leòid | |
| Mac Leod of Gesto’s Salute | Fàilte Fir Gêosta | |
| Mac Leod John, Lament for, | Cumha Iain Mhic Iain Ghairbh | |
| Mac Leod of Mac Leod, Lament for | Cumha cinn-cinnidh nan Leòdach | D. M. Mac Crimmon, 1626. |
| Mac Leod of Mac Leod’s Rowing Pibroch or Salute | Port Iomram Mhic Leòid, na Fàilte nan Leòdach | D. M. Mac Crimmon. |
| Mac Leod, Mary, Lament for | Cumha Màiri Nic Leòid | |
| Mac Leod of Raasay, John Garve, Lament for | Cumha Iain Ghairbh Mhic Gille Chaluim | P. M. Mac Crimmon, 1548 (?) |
| Mac Leod of Raasay’s lament | Cumha Mhic Gille Chaluim Rathasadh | D. M. Mac Crimmon, 1648. |
| Mac Leod of Raasay’s Salute | Fàilte Mhic Gille Chaluim Rathasadh | A. Mac Kay, Gairloch. |
| Mac Leod, Roderick More, Salute at Birth of | ’Nann air mhire tha sibh? | P. M. Mac Crimmon, 1715. |
| Mac Leod of Tallisker’s, Mrs., Salute | Fàilte Bain Tigearna Thailasgear | |
| Mac Leod of Tallisker’s Salute | Failte Tighearna Thailesgear | |
| Mac Leod’s Controversy | Iomradh Mhic Leòid | D. M. Mac Crimmon, 1503. |
| Mac Neill of Barra’s Lament | Cumha Mhic Nèill Bhara | |
| Mac Neill of Barra’s March | Spaidsearachd Mhic Nèill Bhara | |
| Mac Neill of Kintarbert’s Fancy | Aon tlachd Mhic Nèill | |
| Mac Phees, The Rout of the | Ruaig air Cloinn a Phi | |
| Mac Pherson’s March, Cluny | Spaidsearachd Thighearna Chluainidh | |
| Mac Pherson’s Salute, Cluny | Fàilte Fir Chluainidh | |
| Mac Raes’ March, The | Spaidsearachd Cloinn Mhic Rath | 1491. |
| Mac Suain of Roaig, Lament for | Cumha Mhic Shuain á Roaig | |
| Maolroy, The Battle of, or Isabel Mac Kay | A mhuinntir a cháil chaoil thugadh am bruthach oirbh | |
| Mary’s praise for her Gift | Moladli Màiri | |
| Massacre of Glencoe | Mort Ghlinne Comhann | |
| Melbank’s Salute | Fàilte Fir Bhlabhne | |
| Menzies’ Salute, The | Fàilte ’Mhèinneirich | |
| Men went to drink, The | Chaidh na fir a dh’òl | |
| Middling Spree, The | An Daorach mheadhonach | |
| Monros’ Salute, The | Fàilte nan Rothach | |
| My dearest on earth, give me your kiss | Thoir domh pòg, a luaidh mo chridhe | |
| My King has landed in Moidart | Thàinig mo Righ air tir am Mùideart | |
| Old Sword’s Lament, The | Cumha an tseana Chlaidheimh | |
| Old Woman’s Lullaby, The | Crònain na Cailliche | |
| Only Son, Lament for the | Cumha an aona mhic | P. M. Mac Crimmon. |
| Park, Battle of | Blàr Pairc Shruithleith | 1477. |
| Pass of Crieff, Battle of the | Cath bealach Chraoibh | |
| Perth, The Desperate Battle | Cath fuathasach, Pheairt | 1395. |
| Perth, Lament for the Duke of | Cumha Dhuic Pheairt | |
| Piper Samuel, Lament for | Cumha Shomhairle Dhuibh | |
| Piper’s Farewell to his Home, The | Soraidh piobaire da dhachaidh | |
| Piper’s Salute to his Master, The | Fàilte a’ Phìobaire d’a Mhaighstir | |
| Piper’s warning to his Master, The | A Cholla mo run | |
| Praise of Marion | Moladh Màiri | |
| Pretty Dirk, The | A ’Bhiodag bhòidheach | |
| Prince Charles’ Lament | Cumha Phrionnsa Teàrlach | Capt. M. Mac Leod, 1746. |
| Prince’s Salute, The | Fàilte’ Phrionnsa | J. Mac Intyre, 1715. |
| Queen Anne, Lament for | Cumha Ban-Righ Anna | |
| Red Hand in the Mac Donald’s Arms, The | Lamh dhearg Chloinn Domhnuill | |
| Red Hill, The Battle of the | Fir nam breacan dubha | |
| Red Ribbon, The | An riobain dearg | |
| Robertson’s Salute, Strowan | Fàilte Thighearna Struain | |
| Rout of Glen Fruin, The | Ruaig Ghlinn Fraoine | 1602. |
| Rout of the Lowland Captain, The | Ruaig a’Chaiptein Ghallda | |
| Sauntering, The | A Chracaireachd | |
| Scarce of Fishing | Spiocaireachd Iasgaich | |
| Sheriffmuir, The Battle of | Blár Sliabh an t-Siorra | J. Mac Intyre, 1715. |
| Sinclairs’ March, The | Spaidsearachd Mhic na Ceàrda | |
| Sisters’ Lament, The | Cumha na peathar | |
| Sobieski’s Salute | Fàilte Shobia-gaidh | |
| Smith’s, Mrs., Salute | Fàilte Bean a’Ghobha | J. B. Mac Kenzie. |
| Strone, The Battle of Castle | Blàr Chaisteal Stroìne | |
| Stuarts’ White Banner, The | Bratach Bhán nan Stiubhartach | |
| Sutherlands’ Gathering, The | Cruinneachadh nan Sutharlanach | |
| Tallisker, The Battle of Waternish | Blàr Thailesgear | |
| Thomason’s, Miss Mabel, Salute | Fàilte na h-òighe Mabal nic Thòmais | K. Cameron, 1894. |
| Thomason’s Salute, General | Fàilte an t-seanaileir Mhic Thòmais | A. Paterson, H.L.I., 1893. |
| Too long in this condition | ’Sfada mar so tha sinn | P. M. Mac Crimmon, 1715. |
| Tune of Strife, The | Port an Strìth | |
| Union, Lament for the | An Co-chomunn | |
| Unjust Carceration, The | An ceapadh eucorach | J. Dall Mac Kay. |
| Vaunting, The | A’Bhòilich | Rd. Mac Donald of Morair. |
| Waking of the Bridegroom, The | Dùsgadh Fir-na-Bainnse | |
| War or Peace | Cogadh na sith | |
| Waterloo, The Battle of | Blár Bhaterlù | J. Mac Kay, 1815. |
| Weighing from Land | Togail bho tìr | |
| Welcome Johnnie back again | Slàn gu’n till Eoinachan | |
| Writer, Lament for the | Cumha ’Chleirich | |
| Young King George III. Salute | Fàilte Sheòrais òig | 1760. |
| Young Laird of Dungallon’s Salute | Fàilte Thighearna Oig Dhungallain | |
| Young Neill’s Salute | Fàilte Neill Oig | |
| You’re welcome, Ewin Lochiel | Is e do bheatha Eòghain |
With nineteen pibrochs, of which name and date and composers are all alike unknown.
VII — The Garb of Old Gaul
(From the Glasgow Herald, April 7, 1900).
“Oh first of garbs! garment of happy fate,
So long employed, of such an antique date,
Look back some thousand years till records fail,
And lose themselves in some romantic tale;
We’ll find our god-like fathers nobly scorned
To be by any other dress adorned.”
—Allan Ramsay.
The “quelt,” as very ancient writers called it, is one of the few things that are left to remind Scotland of its once distinctive nationality. Together with the Gaelic and the pipes, it makes Scottish history peculiar among the histories of countries. In no other land have the distinguishing marks of a nationality that, as a separate kingdom, has ceased to exist been retained in almost all their original purity. Of the three things, the kilt is perhaps the most interesting. The language and the music have been, and are, confined to the people of the Highlands, either in or out of the Highlands; but the kilt, while no longer the everyday wear of Highland people, has found its way into non-Highland circles, and the tartan has become a fashionable dress. But still, and this is a peculiar thing, it remains the Highland garb, and must, wheresoever seen, be associated with a distinctive country and a distinctive people.
The kilt is the most ancient of all garments. It is the development of the fig leaves of our first parents. Primitive man wrapped himself round with a piece of cloth, when he had cloth, caring little about the niceties of cut or fashion. When the cloth didn’t hang properly he, quite naturally, tied it round his waist with a string, and in so doing transformed his wrappings into a belted plaid, the immediate predecessor of the plaid and kilt. It was certainly not a sense of delicacy but a desire for outward show that led primitive man to clothe himself. Cæsar found the Britons with their bodies painted with woad, and they appeared naked in public. Afterwards they clothed themselves with skins of animals and with woollen garments, the latter of which was undoubtedly the string-bound plaid of the well-to-do Highlander.
The earliest bit of evidence regarding the antiquity of the Highland dress in anything like its present form is a piece of sculpture which was dug in 1860 from part of the ruins of the wall of Antoninus, built in A.D. 140. It shows figures representing very clearly the plaid and kilt, presumably in one piece. Another sculptured stone, found at Dull, Perthshire, gives the bonnet and shield of the Highlander; while a third, discovered at St. Andrews, shows the arrangement of the belted plaid or full dress of the ancient Gael. Both the latter, now in the Museum of Antiquaries, Edinburgh, are of unknown antiquity. Then in A.D. 204 we find Herodian, a classical writer, saying that the Caledonians were only partly clad; and in A.D. 296 a Roman writer, in a eulogy of the Emperor Constantinus, calls the Picts hostilibus seminudis, half-clad enemies. European historians, as a matter of fact, almost always called the Gael of Alban half-naked. Besides, we have Gildas, the earliest of British writers, saying that the Picts were dressed only with cloth round the loins, a rude form of the plaid evidently. And, while both Cæsar and Tacitus assure us that the Britons were precisely the same people as the Gauls, in manners, religion, appearance, and customs, we also read, in other writings of the same date, that the Gauls “wore coats stained with various colours.” Also as a very ancient writer on Scotland tells us:—
“The other pairt Northerne are full of mountaines, and very rud and hornelie kind of people doeth inhabite, which is called Reid Schankes, or Wyld Scottish. They be clothed with ane mantle, with ane schirt fachioned after the Irish manner, going bare-legged to the knie.”
These things all indicate a people partially clad in cloth which was not all of one colour, and it is not stretching the inference very far to identify the garb with the latter-day dress of the Scottish Highlander.
Let us come now to times of which more or less authentic history treats. The first historical reference we find is contained in the Icelandic Sagas. When the death of Malcolm Canmore plunged Scotland into anarchy, Magnus Olafson, King of Norway, was ravaging the west coast and securing a firm hold of the Hebrides for his own country. On his return from that expedition in 1093, the Sagas relate, he adopted the costume of these western lands, and “his followers went bare-legged, having short kirtles and upper wraps, and so men called him ‘Barelegs.’” The seal of Alexander I., whose reign began in 1107, shows him in Highland dress, and as the same seal was used by David I. (1124) and Malcolm IV. (1153), we are quite justified in concluding that these monarchs actually wore what they were represented on their seal as wearing. Such a dress must certainly have existed at that time.
Then, dating from 1350, we have a sculptured representation of a chief attired finely in Highland dress, and in 1471 John, Bishop of Glasgow, treasurer to King James III., in an account for tartan for the use of the King, gives the following item:—“For a yard and a half, £1 10s. (Scots of course), and the colour blue.” Half a yard of “double tartane” for the Queen cost 8s. James V. made a hunting expedition into the Highlands in 1538, and a Highland dress was provided for the occasion. The account of the King’s treasurer shows that it consisted of “a short Highland coit,” hose of “tertane,” and a “syde Heland sarkis,” all for the “Kingis Grace.” The last article was presumably an unusually long shirt.
John Lesley, Bishop of Ross, writing in 1578, says the garments of his day consisted of a short woollen jacket and a covering of the simplest kind for the thighs, more for decency than for protection from cold. About 1580 a writer with a turn for rhyming described the dress of the Highlanders thus:—
“Their shirtes be very straunge,
Not reaching past the thigh,
With pleates on pleates they pleated are,
As thick as pleates can lie,”
which was a very good and concise description of the plaid as it then was. Another writer, in Certayne Mattere Concerning Scotland, published in London in 1603, says the Highlanders “delight in marbled cloths, especially that have long strips of sundrie colours... with the which, rather coloured than clad, they suffer the most cruel tempests that blow in the open fields, in such sort that, in a night of snow they sleep sound.” From A Modern Account of Scotland, printed in 1679, also in London, we learn that “the Highlanders wear slashed doublets, commonly without breeches, only a plad tyed about their wastes, thrown over one shoulder, with short stockings to the gartering place; their knees and part of their thighs being naked; others have breeches and stockings all of a piece of plad ware.” A writer of 1710 supplements this by saying, “they wear striped mantles of divers colours called plaids”; a statement which brings the evidence to a date so recent as to render the calling of further witnesses unnecessary. That the kilt is a pure outgrowth of Scottish life there is no gainsaying. It could have been imported from Ireland only, and that it was not is proved by the two facts, that the colony of Irish Scots who settled in Argyllshire never overran Scotland, and that the checkered plaid was worn in Scotland at dates earlier than it can be proved to have been worn in Ireland.
The complete outfit of a Highland chief in the middle of the eighteenth century makes rather a formidable list. Here it is:—
Full-trimmed bonnet.
Tartan jacket, vest, kilt, and cross-belt.
Tartan belted plaid.
Pair of hose, made up from cloth.
Tartan stockings, with yellow garters.
Two pairs of brogues.
Silver-mounted purse and belt.
Target with spear.
Broadsword.
Pair of pistols and bullet mould.
Dirk.
Knife and fork.
The garb was completed by a feather, or, in the case of the common people, a tuft of heather, pine, holly, or oak, in the bonnet. Personal decoration was always considered a more important matter than home decoration or even home comforts.
Hair was used for making clothing at one time, for we are told Ossian Fin Mac Coul was “arrayed in Hieland plaidis of hair,” but wool was the general material, and so long as wool was worn, so long—it is said—was rheumatism unknown in the Highlands. In colours green and black predominated, with an occasional stripe of red. The number of colours indicated the rank of the wearer, a King or a Chief having seven, a Druid six, and other nobles four, while the very poor people had their plaids plain. The dyes were got from herbs, and the colours are said to have been so “fast” as to keep for two hundred years. The Celts were proud of the grandeur of their tartans, and an old song makes one of them, when wooing a Lowland lass, say:—
“Bra sall the sett o’ your braid tartan be
If ye will gang to the Highlands wi’ me.”
The rigorous Disarming Act, passed in 1747, created what was perhaps the most critical time in the history of the tartan. The pipes and the tartan were banned as treasonable things, and marks of extreme disloyalty to the House of Hanover. The law expressly enacted that “neither man nor boy, except such as are employed as officers and soldiers, shall, on any pretence, wear or put on the clothes commonly called Highland clothes, viz., the plaid, philabeg or little kilt, trowse, shoulder-belts, or any part whatsoever of what peculiarly belongs to the Highland garb, and that no tartan or party-coloured plaid or stuff shall be used for greatcoats, or for upper coats, on pain of imprisonment for six months, without the option of a fine, for the first offence, and transportation for seven years for the second.” This was stringent enough, and it nearly strangled all that was peculiar to the Highlands. But, thanks principally to the patriotic exertions of the then Duke of Montrose, the ban was removed in 1782, and the Highland garb restored to favour. It is now worn by five British regiments. The Gordons wear the Gordon tartan, the Camerons the Erracht-Cameron, the Seaforths the Mac Kenzie, the Argyll and Sutherlands the Sutherland, and the Black Watch a special tartan closely resembling the Sutherland. Both battalions of the Gordons, and one each of the other four regiments, are now in South Africa.
The Highland garb as we have it to-day is a compound of three varieties, all of which were worn in the seventeenth century. There was first the dress worn by the gentry—a shirt died with saffron and a plaid of fine wool tartan, with colours assorted so as to give the best possible effect. Then there was the dress of the common people—a shirt, painted instead of dyed, with a deerskin jacket above it, and the plaid, not always of tartan, worn over the shoulders instead of belted about the body. The third variety was the trews, but this cannot be traced farther back than 1538. It probably came from Ireland, where it was the dress of the gentry from the earliest periods.
The plaid proper consisted of a long piece of tartan carefully plaited in the middle and bound about the waist in large and very particularly-adjusted folds. While the lower part came down from the belt to the knees, the upper, after various wrappings so as to cover the whole body, was fixed to the left shoulder with a brooch, leaving the right arm at liberty. In wet weather the plaid was thrown loose, and formed a complete covering for the body. The headdress, when there was any, was a round, flat bonnet, the stockings were cut from the web of tartan, and the shoes were made of skin shaped in the best possible way to the form of the foot. The original of the sporran was a large piece of goat’s or badger’s skin profusely ornamented, which hung in front, and served as a pocket.
There seems to have been a time, before the dress developed into its present form, when the belted plaid and the trews were worn together. In 1656 a certain Thomas Tucker, who reported on the settlement of the revenues of excise and custom in Scotland, says one of his collectors, in order to avert the antipathy of the natives to an exciseman, “went clad after the mode of the country, with belted playde, trowses, and brogues.” “In sharp winters,” says a writer of 1680, “they wear close trouzes, which cover the thighs, legs, and feet;” while at the Battle of Killiecrankie, in 1715, “there were several of the common men died in the hills, for, having cast away their plaids at going into battle, they had not wherewith to cover them but their shirts; whereas many of the gentlemen that instead of short hose did wear trewis, though they were sorely pinched, did fare better in their short coats and trewis than those that were naked to the belt.”
By and by, however, the belted plaid and the trews gave way to the plaid and the kilt as we now have them. It cannot be said, indeed, that there ever was a period in which the trews held anything like universal sway. The transition was rather from the original form of the loosely wrapped plaid to the present form of the dress. There is a story to the effect that an English tailor named Parkinson or Ralliston invented the kilt in 1715 or 1745—it is a somewhat vague story—and both Pennant and Sir John Sinclair accept it as truth. Pennant, himself an Englishman, may be excused, but the man who edited the Statistical Account of Scotland might have known better. The Earl of Moray of Charles I.’s day wore the kilt, and Lord Archibald Campbell, in Records of Argyll, shows two pictures, one of 1672 and one of 1693, in both of which the kilt can be plainly seen. Besides, the Highlanders wore it in the rebellion of 1715. It is carrying conjecture a bit too far to contend that the Saxons, who were able to introduce very few of their customs among the Celts, introduced the national dress. The simple fact seems to be that the change from the belted plaid, with the plaid and trews here and there, to the plaid and kilt, took place when the altering circumstances of the people made continuous labour a necessity, and also, therefore, a convenient and inexpensive working outfit.
It gives one an insight into the habits of the times to read that the managers of the piping competition held in Edinburgh in 1783, apologised to the public for the deficiency in dress. The competitors, they said, having no prospect of appearing “before so magnificent and great a company,” had nothing in view in quitting their distant dwellings but the competition at Falkirk, where their instruments alone were essential. In 1785, however, candidates were warned to appear “in the proper Highland habit,” which has since held good. Pipers’ dress was sometimes stylish enough even in the middle of the eighteenth century, for we read that in a procession of the Royal Company of Archers in Edinburgh in 1734 there was “one Highland piper who was dressed in scarlet richly laced.”
In the present-day dress, as is well known, the upper part of the plaid is disjoined from the lower, and made up so as to resemble the ancient form. The kilt itself is plaited so as to resemble the lower half of the plaid, but as a matter of fact, it is always too well plaited to be more than a far-off imitation. When properly made, the garb is certainly one of the most picturesque in the world. It is not so well adapted for the hillside as the old was, having been “improved” too much, but it is remarkable as showing how closely mankind clings to habits and costumes which experience has proved suitable, and which is entwined into the history and traditions of their particular race. As to its suitability for war, a great deal has been said in connection with the present operations in South Africa, and it has been laid to the charge of the tartan that it not only betrays the presence of the wearer, and makes him a target for the enemy’s sharp-shooters, but also exposes the soldier to all sorts of chills, and the attacks of all the vermin that crawl over the ground on which he has often to sleep. There is no use denying the fact that there is a great deal of truth in this, and if the Government press their proposals for the reform of Army dress, and include in these proposals the abolition of the kilt as a fighting garment, it seems as if there will not be one half the outcry there would have been in the same circumstances before the war begun. The campaign has undoubtedly revealed the shortcomings of the kilt as a part of active service dress, but that is no reason why it should be altogether abolished. Sentiment can be satisfied by retaining the kilt for parade purposes and garrison duty, while common-sense will indicate that sentiment, unless it can be proved to be very strong indeed, must have little voice in deciding what is best in the face of the enemy. It would certainly be bad policy to totally dissociate the Highland regiments from their distinctive tartans. Recruiting in Scotland is not what it might be, and when the Highland regiments cease to be distinctively Highland it will decline still further. If the authorities wish to foster the military enthusiasm of Highlanders they cannot do better than foster all that pertains to their part of the kingdom. Besides, the tartan is not now the badge of a rebellious remnant, but of a race that is loyal to the empire of which it is a worthy part, and considering the high position the kilted regiments hold in the British army, it is not too much to expect that their peculiar dress should be left to them, for use in all possible circumstances.
The war has given a decided impetus to the general trade in tartans. The demand from the regulars remains practically stationary, as the number of men wearing the Highland uniform is always the same. Among Scottish Volunteer regiments, however, the kilt is coming more and more into favour, and quite a number of additional “Highland companies” have been formed recently. The 6th V. B. Gordon Highlanders is the only battalion in the Highland Brigade unprovided with the national garb, the Government having, owing to “financial difficulties,” declined to supply the dress. The honorary colonel, Mr. J. Gordon Smith, has, however, now given the regiment £1500 to enable the men to wear their territorial uniform, and it is almost certain that the Government will supply the regiment with the kilt in the future. But it is from fashionable civil life that the bulk of the increased demand comes. The headquarters of the kilt-making industry—for it is an industry—are in Glasgow, but the principal market is in London. The demand in the Metropolis for the Highland dress is very extensive, and the biggest firm of Glasgow manufacturers are kept continually employed fulfilling orders from the South. The favourite tartans are, naturally, those of the kilted regiments, but the fashionable Highland dress consists of the kilt with an ordinary dinner jacket above it—the full outfit would be too Highland for London drawing-rooms. In Scotland the formation of clan societies has, in the cities, revived interest in the different tartans, but in the real home of the kilt, the fastnesses of the Highlands, the dress is practically extinct. A few old men wear it, as well as some of the better class residents, visitors sometimes wear it, while retainers wear it as a sort of livery; but among the people themselves it is, to all intents and purposes, obsolete. The garb of old Gaul has ceased to be the at-home dress of the Highlander, and become the evening dress of the fashionable who would ape a Highland connection, and the mark of the Highland wanderer, who far from home stands by home customs out of patriotic love for his home land. We may regret the turn of events, but there is no use blinking simple facts.—W. L. M.
Notes
17. In Chapter XIX., page 278, the date 1838 is given by mistake instead of 1835, as the year of this competition. Also, on page 284, it is stated that John Bane Mac Kenzie and Donald Cameron were the only players who held the title of “King of Pipers.” That there were at least two others is, however, shown by this list.
18. See page 110.