Hew Morrison Collection > Piobaireachd

The Construction and Classification of Piobaireachd 43
according to the Urlar, which is written in three-four time, there might have been
three movements in each bar if the composer had wished. The reason for this may
be explained that sometimes to prevent the tune from being too long and wearisome,
one of the notes which forms the movement is left out. In other instances one move-
ment is omitted for better melody, according to the taste and discretion of the
composer. It does not follow that because there are only two movements or groups
of notes to the bar in the First Variation and its Doubling that there should only be
two movements to the bar in the Taorluath. The Taorluath here could easily have
been written with three movements in each bar. If the composer had desired, he
could have given A D E, A D D bissed, B D E, and B F D, and still be in perfect form
and good melody, as can be seen on consulting the Ground. This is an example of how
composers' and performers' tastes differ. We must be content, however, to abide by
the tune as the composer wrote it. The Taorluath here is of a lively nature as described
in the tune already dealt with. The first note of each movement always varies
and comes down to low G, and finally finishes on the low A, except where the variation
follows the Theme, and as in the Singling of the First Variation. At this point it seems
as if the composer were going deeper into his discourse of how the clansmen had
fought in the past and how many victories they had won, also that they were pre-
pared to uphold their honour and traditions in the future as they had done in the
past. Now we come to the Doubling of Taorluath, also written in six-eight time,
but according to the way that it is played it should be written in two-four time.
This is a repetition of the Taorluath, only that there is no movement resembling
the Ground. The Doubling is performed in the Taorluath movement throughout.
One can imagine seeing the performer come to a dead halt and repeating his tale
in the hope that his notes might be carried away in the western breeze and heard
by the clansmen in the far distance. The next variation is the Crunluath, still written
in six-eight time, but performed in two-four time. The movement is the same as
that already described in " MacLeod of Raasay's Salute." The first note in each
movement always varies, coming down to the low G and finally finishing on the
E, except where the variation follows the Urlar in the long Themal notes. We have
now followed the author's story to its closing stage, in which it would seem as if he
were conscious of his performance coming to an end. He expresses a desire on his
own part and that of his fellow-clansmen that their new Chief might see many long
and prosperous years. Finally we come to the Doubling of Crunluath, which should
be written in two-four time. It is entirely of the Crunluath movement throughout.
The long Themal notes in the Singling are converted into the Crunluath movement.