Music
The Gaelic word pìobaireachd simply means "pipe music", but it has been adapted into English as piobaireachd or pibroch. In Gaelic, this, the "great music" of the GHB is referred to as ceòl mòr, and "light music" (such as marches and dance tunes) is referred to as ceòl beag.
Ceòl mòr consists of a slow "ground" movement (Gaelic ùrlar) which is a simple theme, then a series of increasingly complex variations on this theme, and ends with a return to the ground. Ceòl Beag includes marches (2/4, 4/4, 6/8, 3/4, etc.), dance tunes (particularly strathspeys, reels, hornpipes, and jigs), slow airs, and more. The ceòl mòr style was developed by the well-patronized dynasties of bagpipers - MacArthurs, MacGregors, Rankins, and especially the MacCrimmons - and seems to have emerged as a distinct form during the 17th century.
Compared to many other musical instruments, the GHB is limited by its range (nine notes), lack of dynamics, and the enforced legato style, due to the continuous airflow from the bag. The GHB is a closed reed instrument, which means that the four reeds are completely encased within the instrument and the player cannot change the sound of the instrument via mouth position or tonguing. As a result, notes cannot be separated by simply stopping blowing or tonguing so gracenotes and combinations of gracenotes, called embellishments, are used for this purpose. These more complicated ornaments using two or more gracenotes include doublings, taorluaths, throws, grips, and birls. There are also a set of ornaments usually used for pìobaireachd, for example the dare, vedare, chedare, darado, taorluath and crunluath. Some of these embellishments have found their way into light music over the course of the 20th century. These embellishments are also used for note emphasis, for example to emphasize the beat note or other phrasing patterns. These three single gracenotes (G, D, and E) are the most commonly used and are often played in succession. All gracenotes are performed rapidly, by quick finger movements, giving an effect similar to tonguing or articulation on modern wind instruments. Due to the lack of rests and dynamics, all expression in GHB music comes from the use of embellishments and to a larger degree by varying the duration of notes. Despite the fact that most GHB music is highly rhythmically regimented and structured, proper phrasing of all types of GHB music relies heavily on rubato, the ability of the player to stretch specific notes within a phrase or measure. In particular, the main beats and off-beats of each phrase are structured, however, sub-divisions within each beat are flexible.
"Few attempts have been made hitherto to combine the bagpipes with classical orchestral instruments, due mainly to conflicts of balance and tuning," said composer Graham Waterhouse about his work Chieftain’s Salute op. 34a for Great Highland Bagpipe and String Orchestra (2001). "A satisfactory balance was achieved in this piece by placing the piper at a distance from the orchestra." Peter Maxwell Davies' Orkney Wedding, With Sunrise (1985) also features a GHB solo towards the end.
Read more about this topic: Great Highland Bagpipe
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