EXTRACTS
OF LETTERS FROM AND ABOUT
SIMON FRASER
DESCRIBING HIS PIOBAIREACHD AND HERITAGE
TAKEN FROM LETTERS DEPOSITED IN THE
NATIONAL LIBRARY OF SCOTLAND
MSS 9613-9624 AND OTHERS
EXTRACTED AND COLLATED BY
DR B J MACLACHLAN ORME
In 1978, I was able to be in Scotland for twelve
months, and was able to research works by Simon Fraser.
I already had extensive MSS of his music from Hugh, his
son and my pipe teacher, and from the Fraser Family
after Hugh's death in 1970. However I was delighted to
find a large collection of his letters, articles from the
Oban Times and other letters deposited in the National
Library of Scotland. Many of these had been deposited
there in 1934 after Simon died.
These were from Alex. Keith Cameron, cattleman,
Montana, USA, Dr. J. D. Ross Watt, South Africa, Dr. G.
F. Ross, Calcutta and others. Some letters from Pipe
Major William Gray, Glasgow Police Pipe Band, written
to Hugh, Simon's son in the 1950-60's, are also at hand.
Cameron was writing to Fraser for many years,
although they had never met. They both had the
same style of playing pibroch, except Cameron had
not been taught the big throw on the 'D'.
Cameron's tutors were Thomas MacRae and James
Forbes Farquharson. Both these tutors were of the
Donald Cameron School, from Ian Dubh
MacCrimmon.
Both Simon Fraser's parents had a strong pibroch
tradition. His mind was clear, and he was well able to
reproduce fine details of his own teaching from them and
also from Peter Bruce, his pibroch teacher, even though
he was not formally taught until he was 40 years old. He
was born in 1845 on a boat out of Port Arthur, Tasmania,
but lived most of his life, until he retired, in Mansfield
Victoria.
Many of these extracts are repetitive, I make no
apology about this But they should make an interesting
addition to understanding this great music.
Extracts From Simon Fraser's Letters. Page 1
These notes were taken from the National Library Of Scotland in 1978.
M S 9620 Letters of J. G. McLeod.
The Comely Tune [ No. 1 in Gesto] has a hidden meaning- The Dream of
Love.
There are 3 Warning TunesHector McLean's Warning [see McKay's Book]
Duntroon's Warning or Salute [McPhee's Collection].
Pipers Warning [McKay's Book].
The Duke of Hamilton kept one volume of Angus MacKay's MSS and took it
to South Africa.
M S 9619 Extracts of Simon Fraser's Letters {1908-1929}
Bochim Tune—No.5 in N. Mcleod's Book
'I him- botro- din'—as in Gesto's Book
'Him- bodro- din'—as in S.F.'s letters. Translation- 'We mourn for thee'.
Dungallon's salute should be 'I him- bodro- din, . hi- o- dro- bietri-o.
Ho- chin- hie-o, . ho-chin- dro.
Hi- o- vin- ho, . hodro- bietri o,
Hi-o-chin-hie-o, . ho-chin-dro. BIS.'
The 'dro- diri- din' beat or 'drie- diri- din' is from McLeod's unpublished book and
is written—
,hffl, ipgfa
>ro- diriOr drie- diri- din
din
\)r
Betre
The great art of piobaireachd playing [like all classical music] is to give proper effect
to the ideas ofthe composer.
'Betre' means Mystic. Piob. is very difficult to put in ordinary notation.
Corrinessan's Salute Old Notation
'I him- biedrie, . him- biedrie,
him- biedrie, . o- drie radin, II BIS
ty
Page2
Hi- u bie trie, . hi- o- bietrie,
Him- bo- dro, . hi- o- din.
When writing any tunes in Piper's Notation don't use the V or 'b' too much—
'Him- bo drie, ho- va.' These V and 'b' are generally used in ascending.
'Ha- o, va- o, he- o, he- in' [or 'him'.]
'Hi- u, di- u\ The 'u' is often used as an E in McLeod's Book.
Old Vocables of McLeod's Book are confused in the B and C, and in the E and F on
the chanter. There is no confusion in Patric Mhor's system.
'Ho- dro- din'—The accent is on the 'dro' being the three vocables.
Eg- 'He- im- bodrie- din' from Glengarry's Lament- the accent gives the
time.
* Fancy McLennon writing his grace notes thus.
• He is following McDonald's great mistake.
Marching in strict time to the urlar- the art will never return.
The Cave of Gold-
WuiJ^iCl1-!
l~ie-«.n kyadit-0 he-m he> <Ac'/e bi^n bet* r e
jppfe
•*P--Hf
t
m
^it-'n Ipo-Ane be-un b©_**-r© he.-/n bcfme-d etne dirt _l*n
Dr. Curwin and Miss Glover got the idea of the Tonic Solfa from an old piper.
The dot-[.] is largely used in the Tonic Solfa.
Of the three systems of Canntaireachd, MacCrimmon's, MacArthur's and
Campbell's, McLeod mentions that the McCrimmon's was the original system.
Nearly all the pupils tried inventions of their own, and went in for altering the times,
also giving them other names and sometimes claiming the tunes as their own
compositions. The McKays appear to be the worst offender in this. Peter Bruce told
me that the variations or doubling the Urlar with the high 'A' was an invention ofthe
McKays. We find no doubling ofthe high 'A' in McLeod's published Book.
The mysterious part of the McCrimmon notation is that it is a language within a
language so to speak.
See Mcleod's Book- 'I tri- en'. This means Mystery.
I have no doubt whatever about the McCrimmons going from Ireland as in the
McCrimmon History that I have from Charles McArthur on my mothers side, and
John Dubh and McLeod on my father's side.
Page
The race of McCrimmons is as followsPetrus Cremmon [or, Crimmon]
John or Ian Odhar
Donald Mor
Patric. Mor
Patric. Og
Donald Ban
Malcolm
John Dubh
The McCrimmons were inclined to be very religious but their ideas of Christianity
were primitive and no secrecy in their philosophy of religion. As you will see that the
'Comely Tune' is a peculiar piece for the fact of it being nearly all triple vocables.
Example'Be- tre- in, . hie- ro- din' New System
' I t r i - e n , . h o - r a - d i n . ' M c L e o d ' s Wa y.
This tune, or the verses of it, deal with the hidden mysteries of the 'Triad' and
other secret orders, and for mentioning these things and saying that the McCrimmons
came from Cremona, that caused McLeod's friends to get him not to publish the book
that he first intended to. Neither the Scotch or the Irish in the old days cared about
admitting the origen ofthe McCrimmons or their views of Christianity, and while any
ofthe McCrimmons lived, they had to keep these matters very close.
Patric Mhor improved the system of canntaireachd.
Urlar—Lament For The Only Son.
'Hea- iririne, he- o- dro,
he- ara- tra, he- ie- drie,
Hea- iririne, he- o- dro,
He- ara- tra, he- ie- drie,
hea- iririne, hin- dun,
he- ororo, ho- hun,
hea- iririne, hin- hun,
he- ororo, he- o- dro,
He- ara- tra, he- ie- drie,
He- iririne, he- o- dro,
He- ie- drie, ha- ie- drie,
he- ororo, ho- hun,
hea- iririne, hin- hun,
he-ororo, ho-hun.' II
[Gesto's 1826 Setting]
Compare with the Old System'Hie- ririne,
hie- ririne,
hi- a- varla,
hie- ririne,
hi- a- varla,
hi- a- varla,
hie- ririne,
hi- o- dro,
hi- o- dro,
hi- o- dro,
hi- o- dro,
hi- o- dro,
hi- o- dro,
hi- o- dro,
hi- o- dro,
ha- o- dro,
hie- ririne,
hie- ririne,
hi- ororo,
hie- ririne,
hi- ororo,
hi- ororo
hie- ririne,
hi- ororo,
hin- dun,
hin- dun,
ho- dun,
hin- dun,
hi- o- dro,
ho- dun,
hin-dun,
ho- dun.
II
Page 4
' Hea-iririne' or 'hieririne' sounds, when properly played as 'He-yir-irine', as if
the 'y' was in it. 'He-yo-ro-ro' is the same. The D grace note is scarcely heard, being
played so quickly.
There is no such beat in McCrimmon Sheantaireachd as 'ha- dro- va'. It is 'hodro -va. Nor is there 'hiem- ba- ho', it is 'hiem- bo- dro'.
Canntaireachd does have some marks. The Tonic Solfa System has dots and other
marks to denote the time and this was taken from an old piper by Dr. Curwin and
Miss Glover.
Differences of some bars from Glen'sBattle of Auldern ^^
m
Seaforth's Lament-4th bar, 1st strain
&n
p
*
Hi-u O^betre he- ie- din
^M
ine-ve-^e l-ic-v-ue*
The Old Woman's Lullaby/
\u
Bi- tri- u hie- ve- ie
i j j* 5
nn
ho- din dro
[ The D note is not in this tune].
The 'he- chin, ha- chin, hie- chin, ho- chin', etc, always have the accent on the first
vocable. The accent on the second would not sound well. On the other hand, 'hin- do,
hin- da,' etc varies according to the tune or position.
Re, 'Brian Boru Pipes'. We have them and of course, we are thoroughly
acquainted with the instrument. I have two of the chanters, and I altered mine by
putting in an extra vent between F sharp and G sharp, so to get the G natural. And I
have a silver ring round the chanter with a hole in it like this When I want to
switch the chanter, I turn the ring round so that the hole comes over the G natural vent
ofthe chanter. When I am playing Irish or Scotch music that requires the G sharp, I
turn the ferrule around to close the G natural vent. We play piobaireachd on the Brian
Boru Pipes the same as on the Scotch Pipes.
Such tunes as 'Glengarry's Lament' go excellently on the Irish Chanter, but tunes
such as ' The Vaunting,' 'The Finger Lock', that come to the G natural, I turn the
ferrule around to get that note, thus making the chanter suite both styles of
piobaireachd.
Page 5
The McCrimmon beats cannot be improved upon. Piobaireachd playing on the pipes
is like strathspey playing on the violin, simply impossible to execute properly without
the aid of a good teacher and expert.
'Hiririne, ri rin' is not McCrimmon, but 'hieririn hien' is in McLeod's Book [No.
1]. See 'Comely Tune' or 'Pipers warning to his Master'.
'The Marchioness of Tullybardine' is a favourite tune of mine. It is by Charles
Duff, and I have an original copy of this tune, but like a good many Piobs, it has been
altered by some of those composers who think they know more than the composer.
'Hin- in- in' is the proper sound of this beat, when properly played, and must have
the cutting notes 'G, E, D'.
As to 'Ha- ra', or 'Ha- ra- ra'. The A is never used lower than the B note in
McCrimmon music. We see 'Ho- ra- din' and 'Ha- ra- din' in McLeod's Published
Book,
as
follows*
f
Hf
-
r<x-
eiirA
£
hd-ra-dh^
(f1eL*2«eO
These beats are thep'rb'per sound when played well. In marches and small music, tlie*"
pipe language was never meant for them. However there are some groups of notes in
those tunes that Sheantaireachd can be applied to.
McLennon has only made things more complicated.
This style is wrong- And should be-
1
$
i
5
Although African Blackwood is very good for pipe making, and also Cocos Wood,
I still think that Ebony has the best tone and is the sweetest. The best balanced tone,
all round, I have played upon was McDougall's of Aberfeldy- I mean the old maker.
All McCrimmon music was written in the Ternary or thriple method taken from the
Trinity, being most perfect.
; TKl$ is c<H\»*».0i_
ss
=^a
'Hie- ririne' should be always accented on the
last note.
In McLeod's Book- the most difficult part in translating is to place the missing bars.
But I soon found the missing bars ofthe Gesto's Gathering. Kilchrist is easy! So is
Isabel McKay. Macintosh's Lament is another.
Page 6
In Thomason's Ceol Mor- I cannot recommend his alterations, especially in the
Union's Lament and The Lament for the Children.
Peter Bruce's playing was the most perfect. I see that now more than ever and it
is no trouble to note down his tune.
The McCrimmon music showed a proper system. McLeod's Book alone shows
this and we find some perfect pieces of music in it. Play the pipes in a clear round
style. The great secret of playing is to SHUCK the grace notes into the principal notes
as quickly and clearly as possible. McLeod's Book was never intended to be easily
translated, as it was simply written for those who thoroughly understood the system.
All kinds of difficulties occur throughout the book, such as vocables misplaced,
vocables left out altogether, and every contrivance to mislead all but those who are up
to these devices which the old masters resorted to.
'The Lost Piobaireachd'-1 have also the words ofthe prophesy or legend that
gave rise to the composing of this by Patric Mor McCrimmon and it is mentioned in
the words of that grand piobaireachd, 'Cumha na Cloinne', and runs thus in English'Hear me dear Saviour, hear me now,
All my loved children, but one are laid low,
Spare him dear Saviour, spare him to me,
To plead the Lost Piobaireachd far over the sea'
The Pipe Language to this is- 'Cumha na Cloinne'
Shi- ri- ri,
She- vitri,
She- in- dro,
She-a vitri,
di- ve,
che-a,
vi- a,
che- o,
. shi- ri- ri , chi,
. she-a- o- ro- ro, cho,
. she- re- re , che,
.she-a varla, cha.'
Note the high cutting notes- 'he, she, or che'.
No.Xl 11 in McLeod's Book has as good a Crunluath, as regard as the right sound as
any ofthem, although written to style- 'Hi- en- dra- trie- ri, ha- dra- trie- ri'. The
letters- dr, tr, or fr are never used by themselves. They should be- 'dra' , 'tra', 'fri',
'dru' 'tru', 'drin' 'trin' and so on.
The low G grace note is denoted 'rin' or 'din'.
'B', t' or V are used between two notes without grace notes. Sometimes 'd' is used
that way as in 'hin- da' or 'ho- va'.
'Tr' or 'trile' is often used in dance music or march music for the pipes as well as
other instruments, but not in Piob or in Sheanntaireachd.
Taorluath- 'He- dir- in', or 'ha- dir- in', with the accent on the first note.
Big Patric Mhor McCrimmon said that the timing is lost in Scotland. The
sheanntaireachd has nothing to do with Gaelic any further than some vocables are
found in Gaelic. We also find these vocables in English and other languages.
Pase
*o 7
Take 'Drove' for instance. Or 'Dromana' or Drogheda', which are Irish. I have the
Original version of 'The Lament for the Great Music' I often play this tune and you
know the reason. It explains itself.
Settings of 'Lord Lovat's Lament' and 'Lament For Samuel' were given to Mr.
David Glen for his book.
' The Cave Of Gold'- Old Notation'HiHiHiHi-
em bo- dro, . hi- en bo dro,
em bo- dro, . hie- rie- rie, [i- tri, ie- trie- B. J. O]
em bo- dro, . ho- en bo- dro,
em bietrie-o,. dro- dro- din.' II
McLeod's account ofthe old pipes was with 2 drones.
It is absurd for anyone to say that Neil McLeod of Gesto could not play the pipes or
understand them. My father heard him play often, and also heard his tutor, John Dubh
McCrimmon, play as well. McLeod was not only a splendid Pibroch player but he
was also considered the best judge of pipe music in his day I have heard that not only
from my father but also from Peter Bruce, and several others, say the same thing.
Mcleod taught his son Norman, who was also a splendid player. Normon died near
Melbourne in the year 1847. He had a copy of McLeod's unpublished book and we
had another copy as well.
Although piob was brought to it's highest perfection in Scotland, it was started
originally in Ireland by the McCrimmons when they arrived from Italy. McLeod had
their complete history from John Dubh McCrimmon himself.
A student piper must be taught to sing the tunes from the Sheanntaireachd and this
is where the McCrimmons excelled in their teaching. The way tunes are put down in
ordinary notation is not always correct for very often the notes are accented in the
wrong place.
Respecting Center's playing, he has been beaten easily by my son, Hugh, under the
best judge we have in Victoria- a Scotchman, trained in Scotland. Hugh got three
firsts at Telford and championships in other places.
Center is not a champion at all. It is a mistake! I told him at Colac, that if his
playing of Piob was a fair sample, then alas for the Great Music- it must be passing
away.
I have a copy of 'The Desperate Battle. It was composed by John Dubh
McCrimmon. in 1747 after the Battle Of Culloden.
Mr. Grant is not aware why 'Sheanntaireachd' was changed to 'Canntaireachd'.
My Grandfather- on my mother's side- was Charles McArthur, who was taught by
Patric Og McCrimmon. He was a favourite pupil, and Patric took great pains to teach
him all he knew himself. Charles McArthur was a fine player and composer, and he
taught my grandfather all he knew himself. My mother took such an interest in the
Piob that my grandfather taught her the notation, and secrets, and she, along with my
father, taught myself.
Page 8
My father, who was related to David Fraser [Lovat's Piper], was born in July
1796, and in the year 1812 he became acquainted with Neil McLeod of Gesto, who
introduced him to John McCrimmon, who taught the two ofthem. Neil was a splendid
player and he taught his son, Norman, to be a fine player also. Norman, who died in
1847, played in our house a short time before he died.
Peter Bruce, as you know, taught me the pipes in exactly the same way as the
McCrimmons taught their pupils, and he knew their secrets and history as well.
The Old Scale was as followsHin,
G
ho,
B
hin,
A
ho,
C
ha,
D
hie,
E
hi,
F
hi,
G
hi.
A
For the high A, the vocables Bi, Di, and.dili were sometimes used.
U was used as E as , 'di- u', or 'hi- u\ going from high A to E and from F to E.
This is the scale of McLeod's Book of 1828, and as you see, it is difficult as one
vocable is used for two or more notes.
The McCrimmon system is perfect when you know it. The piper who has no desire
to learn it, knows too much, or thinks he does. What is the most interesting is the
philosophy ofthe McCrimmons, especially Patric's, who was 200 years ahead of his
time.
'Ha- din' or 'ha- drin' is a very difficult beat and Peter Bruce was the only piper
ever I heard perform it properly, so as to properly express the sound 'ha- drin' on the
pipes.
The 'r' is not in McLeod's published Book, but it is in the unpublished one.
f
I .Fl v j Vi Fl Th
ha- drin
?
Hi- o, dro ra- din [Old Notation]
Hi- o, drie- ro- din [New Notation]
Peter Bruce showed me how to correct the beats in McKay's Book and in
McDonald's Book. He played most of these tunes in these books.
You must sing the McCrimmon notation before Peter Bruce would allow you to play
them.
Neil McLeod was a great friend of my father's and it was McLeod who took him
when a lad to learn the Sheanntaireachd from John McCrimmon. I challenged Center
to play the Canntaireachd. Center said that he couldn't read this and he only knew of
one man in Scotland who understands it and they look on him over there as a crank.
When Center said this I thought it was a fairly broad hint that I was a crank also.
Page 9
As to primitive Christianity, there was no man born who understood this subject better
than Patric Mohr McCrimmon, and it is his beautiful philosophy that has always
interested me and helped me to make a great student of Sheantaireachd.
I have a daughter who takes an interest in this subject, and she can sing 'hi- o- drata- ta- te- riri' better than myself.
Dr. K. N. McDonald is correct in saying that the McCrimmon music has not yet
been noted down properly in staff- not one tune is correctly noted.
In composing piobaireachd, do not introduce any new forms of beats- stick to the
beats in McKay, Glen, etc. You cannot improve on the McCrimmon tunes. I am the
only one who knows all the McCrimmon secrets, as the philosophy and the 'Hio dra
ta ta teriri' variations are the greatest ofthe mysteries.
This beat or group of notes, 'Hio dra ta ta teriri', contains 8 vocables, 16 letters, and
24 notes in Staff notation. It is not a breabach movement is simply what McLeod says
it is- a 'Crouluigh Mach' or finishing measure. It was called by the old pipers' The
McCrimmon's Pride', as no piper was considered perfect unless he could play this
finishing variation, and all the piobaireachd worthy ofthe name was finished with this
most difficult of all variations.
The real Crouluigh Mach movement is not in any book of Staff Notation. [SeeCogadh na Sith].
Re, 'The Menzies Banner'. I will send you ofthe original by John Mclntyre.
'Craigellachie' is a lament composed by Patric Mhor McCrimmon and called by him
'Sir William Wallace's Lament'. I have the history of it and the Crouluigh, as a
finishing measure contains 64 beats. I have also the scales of all the vocables of the
McCrimmon's which have never been printed. McLeod's Book was only intended for
those who knew the system and the tunes. McLeod told my grandfather in my
mother's hearing that they would find it a puzzle if anyone tried to read it. It is a most
interesting study, for it furnishes the main key to all the secrets. It is taken from
Genesis, 3rd chapter, verse 24, from which is taken, the following- "Christ will be our
Saviour, if we follow His teaching'. This is the true origin ofthe pipe language. This
verse contains all the difficult beats that can be performed, not on any musical
instrument, but on the pipes.
Dr. Bannatyne told me that no one in Scotland knew Canntaireachd. I never expect
to hear the equal of Peter Bruce again. The McCrimmon time marks are different
from the McArthur's but the vocables are nearly the same.
My son, Hugh,, Champion Piper of Australia, has Manson's book, 'Ceol Mor' and a
book called 'The Lost Pibroch' by Munro. The true meaning ofthe 'Lost Pibroch' is
part of my secret. It is the 'Lost Art' of playing them. I have 'Corriness'- that is not
what the book means when properly understood.
There are several lost pibrochs, which will never be recovered now, and we can only
make the best of what we have ofthe originals. I have the originals of 'Lochnell's
Lament' [Corriness], 'Prince's Salute' and others. McLeod 's Book is the best, what's
in it according to the McCrimmons. And I have one or two extra beats in 'Cill
Chriost', Keanidize', 'Donald McLeod of Greshernish' and 'Royal Oak' [Mhorag].
Page 10
When the pibroch is properly translated, it cannot be improved upon and neither can
the system from which they taught their pupils. The McCrimmon Canntaireachd
notation is not only the easiest system, but the most perfect for pibroch. When the
system was lost, pibroch playing dwindled down to a mechanical and to a great extent
a meaningless system.
The McCrimmons adopted the following methods to puzzle pipers-, misplacing of
words, leaving some out, and even altering the words. They taught the tunes and the
vocables to their pupils but kept the scales and the time marks a close secret. Only
that my Great Grandfather was related to them, I don't suppose that anyone now
would have the secret.
This language, Sheantaireachd, was taken from Genesis , Chapter 3, Verse 24,
which supplies the words or letters of 'Christ will be our Saviour if we follow His
teachings'. And here we find the words 'And He Drove' or 'dro- ve', and also 'tree',
which when properly placed, forms the 'Crunluath'. I have found it a beautiful study,
besides, from the fact, that it furnishes the true key of all secrecy.
See the write up ofthe McCrimmons in Manson's Book P 262-3.
The history of The Comely Tune or McCrimmon's Dream is very interesting from a
religious point of view, as there are about 20 verses to it , but I have, I'm afraid,
forgotten them.
Gesto's Gathering. There are 2 missing lines in McLeod's Book. Bruce could play
this fine tune splendidly, and also The Comely Tune. But, he used to say that no one
could play it like McCrimmon.
Correct Version Of- Gesto's Gathering.
' Hie- aririne, ho- diriro, . hie- aririne hi- o- dro- din,
Hie- aririne, ho- diriro, . hi- en- hine, hi- o-din, II BIS.
Hi- o- diriro, hi- o-dro- din, . hi- en- hine, hi- o- dro,
Hi- o- diriro, hi- o-dro-din . hi- en- hine, hi- o- din,
Hie- aririne, ho- diriro, . hie- aririne, hi- o- dro- din,
Hie- aririne, ho- diriro, . hi- en- hine, hi- o- din.' II
The pipe language cannot be altered, whereas Staff makes many mistakes in
time and accent, and alters the notes to suit his fancy. Grace notes are written as
principle notes and vice versa. When properly understood, all single grace notes
struck on the principle notes have the letter 'h' before them, as 'he', ha' and so on, or
'che', 'cha' or 'she', and 'sha'. Grace notes under the principle notes- as a rule- are
known by the letter 'r', before them as- 're', 'ro', 'ra', and so on.
In the beat, 'hininin' [not 'hinhinhin', it does not sound well,] the high G' D and E
cuts are used to separate the notes. In the beat, 'hiririne', low G grace notes are used
to separate the principle notes.
When playing from one note to another with no grace notes, we use 'b', V, or
sometimes 't', like 'bo', 'va' and 'to' and so on. 'F' is seldom used. 'Tri' or 'tre' are
proper although 'fri' or 'fre' are sometimes used.
Ross knew Sheanntaireachd and there are some very correct tunes in Ross's Book
Page 11
How I got the Sheanntaireachd. In the month of July 1853,1 was laid up with what was called 'The Black Croup',
and about 12 o'clock at night my mother gave me up, and being by herself with only
my sisters and brothers, she got things ready to lay me out. I was all but choked, and it
seemed to her that it was only a matter of an hour or so, till I would be dead. In her
grief, she threw up her hands and sang 'Cumha na Cloinne'- Lament for the Children,
as follows' Shi- ri- ri di- ve, . shi- ri- ri- chi,
Shi- vitri che -a, . he- a- ho- ro- ro- cho,' and so on.
Then she knelt down and prayed fervently for a few minutes. Sick as I was, I
seemed to understand what she was doing, and in about half and, I got relief, and I am
here now writing to you.
Hearing the strange singing bothered me, and when I got well, I asked her what it
was she was singing. She told me it was the McCrimmon wail for the loss of his sons,
and by promising to keep the secret for 50 years, she told me all about the scales and
'The Lost Pibroch', and 'The Lament for the Big Music'. She, being a great enthusiast
and having a great taste for singing and music, got the whole thing from her father, by
listening to him explaining it to his friends. Now you know how I became possessor
ofthe Sheanntaireachd or the Lost Pipe Language.
This is one time mark —. You shall see by Mr. Anderson's scale that he uses Y
Now, in writing, you use them in the most handy way to suit yourself. This is one of
the secret time marks, and it represents the Bible. It is used in five ways as follows/
1
\
5
(
In the beats, 'ha- dra' and 'ha- drin', the accent is usually on the 'dra' and 'drin',
except when using 'ha- drin- in', where the accent is on the first vocable.
The letter T is used generally in groups of notes. 'Dili' is the key to this beat,'dili', 'hulu', 'hele', 'hala', 'hielie', ' holo', ' hinin', 'hunun'.
All the letters ofthe pipe language are in the 24th verse, 3rd chapter, Genesis, and the
vocable 'bo'- 'I hear', has been found in Africa among the natives- in this way- 'Bo,
Bo, Booo'. The 24th verse ofthe 3rd Chapter of Genesis is a wonderful one. The word
or vocable, 'odin' and 'thor' are mixed up also with the Language from Norwegian
Mythology. 'Th' is used in McLeod's Book- see Tune No. XVI1, where there is 'thio' orthie- o', instead of'hie- o' or 'hi- o' or 'chi- o' or 'shi- o'.
The Comely Tune- By Patric Mhor McCrimmon- his Dream of Love. My mother
knew it well and could sing the verses written by Patric when he composed it. Peter
Bruce could play it beautifully-' None but a McCrimmon could do it justice'. Neil
McLeod used to say that 'McCrimmon must have been inspired when he wrote the
lines'. He taught them more beautifully than all that had ever been written by
Musicians and poets put together. The subject of the Poem is Infinite Love. It was
called McCrimmon's Dream of Love. This is the reason that it was placed first in Neil
MacLeod's Book.There are 3 lines in MacLeod's version all through the tune.
There are only 13 lines instead of 16.1 have replaced these in the Urlar.
Page 12
Patric Mhor McCrimmon in his dream goes back to the beginning of Creation in
search of Love and traces it right through to the Crucifixion. And as the Urlar is
played some 4 or 6 times, [it is supposed to be given different expression each time,
as it were,] so as to correspond to each period. Some ofthe ideas expressed would not
be tolerated in McCrimmon's time, which, no doubt, is the cause ofthe Poem not
being made public.
'Dru' to the high G ofthe chanter with the grip notes, is said to be taken for
'Dru' which means 'Druid'.
The letter 'h', when omitted in beats is said to save time.
'Thor- o- din' or 'ho- ro- din' is another beat
taken from Scandinavian mythology.
H&
'Sh' means high A or high G grace note or cut. 'Th' means D grace note and 'ch', an
E grace note but they use various ways for their graces. Peter Bruce had cuttings and
beats not in any written music. With the cuttings on B, 'ch is not sounded like 'chat'
or 'cheese', but as in 'loch'- not 'lock.'. 'Ch' is used in McLeod's Book in tunes No.
1, 15, and 17.
*
.
/
m
5
Shin- ti shin- di
Yes. Allusions to the pipe occurs in many places in the Bible, but the one in Jeremiah
is the one that the Lament, or Idea of it, is taken from. Peter Bruce used to say that the
new system or books were all very well in their way, but they don't show you how to
play the tunes.I have been playing the violin from ordinary notation for 50 years and
the first music I learnt is on that instrument was Strathspeys and Reels but I have
never seen a book yet that shows you how to do it properly unless taught by an expert
player.
The McCrimmons and their Cremona origin is the correct theory. My father knew
John Dubh McCrimmon and Neil McLeod of Gesto well. The McCrimmons first
invented the language of the pipes, which contains the hidden memory. No
improvement can be made on Patric Mhor's system- a complete scale, time marks and
everything- no marks are necessary to the expert in pipe language, but you must be
taught to sing from it, and in turn, make your instrument sing the notes and beats.
Patric Mhor McC. went to Italy- this is mentioned in McLeod's 'History of the
McCrimmons'
Page 13
Patric Mhor McCrimmon went to Italy- This is mentioned in McLeod's Book
'History ofthe McCrimmons'. Neil McLeod had it printed at about the same time as
he printed the book on Sheanntaireachd. But, as the verses to The Comely Tune, The
Lost Pibroch, and other tunes, are in this book, he was not allowed to publish it Tabout
1828].
Norman McLeod- Gesto's Son, had a copy ofthe book. But he died about 10 miles
out of Melbourne, Victoria, in the year 1847. I don't know who has the book, or
whether it is in existence.
It is beyond tradition when the 3 drones were first used, and as for the grace notes,
we cannot sing or play it without them. McLeod's History of the McCrimmons has
about 100 pages in the book.
Have you read Alby Williams 'Story of Notation'. It contains an able sketch on
Classical Music.
Patric Mhor McCrimmon completed his new system of scales on his return from
Italy, about the middle ofthe 17th century. McLeod's unpublished book contains these
scales and about 50 tunes in both old and new notation. McKay's Book contains the
nearest to the McCrimmon noting of Pibroch in the ordinary notation, allowing for the
mistakes.
15/8/10- In the Comely tune, Patric Mhor McCrimmon is very hard on Mystery and
Hypocricy, and in one verse, he says as follows' If Antichrist there be,
' Tis man made mystery,
with selfishness the key
And grim Hypocrisy'.
Examine these and you will see:- No Christianity, and No Infinite Love.
This is what he says in a verse, and there is no doubt but that Mystery seems to be
one ofthe greatest foes ofthe Human Race. Of course, mystery is a great subject, and
a dangerous one also.
You will see by this book, the fate of those who reveal any hidden mystery and this
spirit is far from being dead yet. I think this largely accounts for the fact that none of
the McCrimmons ideas or writings are to be found now; as they were great scholars
and knew well how to explain the great beauties of Primitive Christianity. For
according to Patric Mhor, that was a religion of love not a mixture of love and hate.
He composed the Lost Pibroch on the following prophetic lines—
' The missing letter will be replaced,
The Name of God will be effaced,
Love for Christ will die away,
And love of gold will win the day'.
L is the letter.
The 'Triad Mystery' applies in this time also- as you will see. It is all triple
vocables or beats. I think I told you before that the Comely Tune [ or key of the
mystery] is a dream in which Patric Mhor McCrimmon imagines he goes back to the
foundations ofthe World in search of Infinite Love.
'Be- tre- in' means Mystery in Pipe Language
'Ho- ro- din' means selfishness
Page 14
Petrus Cremon was the name of the first one of the McCrimmons, who went from
Cremona, Italy, to Ireland. There were 3 ofthem called Peter. I think it means Petrus.
In the Wardlaw MSS they call the McCrimmons 'Macgurmin'. Angus MacKay calls
them McCrummen, but these are all devices to hide their real origin.
Nearly all the McCrimmons had verses to the tunes, which explains the object for
composing them. This accounts for the decay of good Pibroch playing as the verses
are lost. McLennon is right [not in his book though] in saying there should be a proper
time system.
Tunes are now written in Common Time and this should not be so. Common time
alters the time accent of the vocables and the notes they represent. It represents not
knowing the Canntaireachd and the true meaning ofthe vocables.
Marching to Pibroch was done, as it was a common rule for a lot of pipers to play
together, keeping very strict time. Even for Laments, the pauses, if placed properly,
do not seriously interfere with the time. As a pause is usually 2 beats, one can catch
his step and still retain the accent ofthe time, as it were.
Although Peter Bruce played Laments very slowly, he still kept or had a great
command over the time and rhythm of the tune. Although Center played well
according to the ordinary notation, as generally written his playing is far behind Peter
Bruce's.
'u'- in McLeod's Book is often used instead of 'e\ Mcintosh's Lament in
McLeod's Unpublished Book uses it a good dealHi- riri- hi . . hi- u tra- ha,
Hie- drin- ie hi,. hi- a- ororo- ho,
Hi- a- hin- bodra,. ha- in- o- dra,
Hod- din- dro, . bi-tri hi- u ha. [BJO- Note 'hoddin'-with strong low A]
Var. 1 Hi- u , hi- u , . hi- u , ha,
Hie- a, hi- a, . hie- a, ho, etc.
Use the 'b' and V as little as possible, 'b' is always used ascending as
'bo- tro' or 'bo- dro'; 'bo- tra' or 'bo- dra'; 'bi- tri', or 'bie- drie' [Accent is
on the second vocable].
' Him- bo- tra- o'; 'him- bo- tro- din', both the 'b' and V are used mostly in
ascending
Descending- 'ha- o', 'hie- a', 'hi- en', 'hie- un', and so on.
The difference between 'tro' and 'dro' is that 'tro' is played more crisply. Peter
Bruce could play every beat in McLeod's Book and I was under his tuition for 20
years.
2/11/1912.
'Kiannidize' [ No VII]- There is a mistake in the 9th line, being a 'hie- roro' too
much. It should read as follows- 'ho-dro- hie-vi- ha- vi.'
I have 2 settings of this tune. The other one finishes with the two first lines instead
ofthe four 'hie- rerine' beats.
Page 15
Kiannidize No. VII, McLeod [Old Notation].
I him bo-dra- o,
Ho- dra hie- vi,
Him bo- dra- o,
Hin- do, hin- da,
Ho- dra hie- vi,
I him bo- dra- o,
Bi- tri o- ha ,
Him- bo- tra- o,
hie- vi- o va.
ha-vi
hie- vi- o- va
hi- oro- ro
ha-vi
hie- vi- o- va
hie- vi ha- vi
hie- vi- o- va
hie- re- rine,
ho- dra hie- vi,
hie- re- rine,
ha- o- ha- vi,
ho- dra hie- vi,
hie- re- rine,
ho- dra hie- vi,
hie- re- rine,
hie- re- rine,
hi- o- din,
hie- re- rine,
hi- oro- ro,
hi- o- din,
hie- re- rine,
hi- o- din,
hie- re- rine.
Craigellachie [Old Notation].
I hi- en,
Hi-o,
Hie- re- rie,
Hi- en,
Hi- bie- trie,
Hi-o,
Hie- re rie,
Hi- en,
Hi-o,
Hie- tri- en,
Hi- bie- trie,
Hi-o,
Hie- re- rie,
Hi- en,
Dili-u hi,
Hi-o,
to- ra-din,
dro- ra- din
hie
to- ra- din
hi,
dro- ra- din
hie
to- ra- din
dro- ra- din
ho- ra- din
hi
dro- ra- din
hie
to- ra- din
dro- ra- din
hie- re- rie,
od- din,
hi- ri- ri ,
o- hin,
hi- bie- trie, hi,
hie- re- rie,
od- din,
hi-o,
dro dro,
hi- ri- ri ,
o- hin,
hi- bie- trie, hi,
hie- re- rie,
od- din,
hi- ri- ri,
o- hin,
hie- re- rie,
od- din,
dro- dro,
hi-o,
hi- ri- ri,
o- hin,
hi- bie- trie, hi,
hie- re- rie,
od- din,
dro- dro,
hi-o,
hi- ri- ri,
o- hin. II
The Comely Tune [20/ 8/ 12, to Mr. Watt]
Patric Mhor says- 'There's no eternal Hell,
Mankind may punished be,
But not eternally'.
And in speaking of secret inventions on man- made mystery, He says' If Anti- Christ there be,
'Tis man- made Mystery'
Again,- 'The supreme test of Christianity is- loving your enemies, doing good to
those who have injured you by word or deed. Any person can do this if he tries. And,
one can then say, they love Christ. But it is by loving and doing good to your enemies,
that they prove their sincerity, for He tells us to love one another and if you love him,
keep his commandments.
Page 16
A Brief History ofthe McCrimmons and Their Philosophy.
th
Letter dated 20™
August 1912
Petrus Bruno went from Cremona, Italy, to Ireland sometime before his relation,
Giordano Bruno was burnt at Venice Italy. [Giordano Bruno was burnt at the Campo
di Fiori, Field of Flowers, in Rome in 17* February 1600 -BJO]. He was a firm
believer in 'Primitive Christianity', free of Theological Puzzles, Pagan Rites and
Ceremonies. He got access to some original manuscripts in Italy that proved to him
beyond any doubt, that the Bible [ which he calls the greatest of Books] was tampered
with, in the interest of Theologians about the beginning ofthe Second Century.
He soon became convinced that Christianity was a religion of 'Love' only, and not
a mixture of love and hate, mixed as it were. His opinions- based on what he
discovered- got him into conflict with the Clergy, so he had to leave his native land.
He took the name of 'Cremmon' and went to Ireland, where he adopted the 'Mac'Thus going afterwards by the name of MacCremmon. His son, John, and his
grandson, Donald, were taken over to Scotland by one of the McLeods to form a
College of Piping.
Petrus Bruno first invented the Old Pipe Language, which may be termed 'A
Language within a Language', for besides the Musical Meaning, it also has the
Religious one, as the beats express or convey to one another the principles of
Christianity. This system enabled the McCremmons to keep their opinions to
themselves. They called it 'Sheanntaireachd', which means 'sing the tune' or 'Sing to
Christ', and the letters of His Name are all in that word.
Petrus took all of his language 'Pipers Language' from the Bible, and two of the
tunes he composed are No. 18 and No. 19 in McLeod's Book. These tunes are called
'Lament for the Laird of Aniapole' and 'Tummilin O'Connichan'. No. 18 is the
'Lament for his Uncle Giordano Bruno' and the letters of his name are used very
much throughout the tune, as 'ru', 'dru', 'ohin', 'drun', and 'trun'. Moreover, this
tune is different from any other tune in the book. No. 19 is a 'Lament for King Brian
of Old' in Ireland.
Patric Mhor McCrimmon went to Italy about 1650, to study there, and to see if
what his Great Grandfather said about the manuscripts was correct, and he found it
was so. When he came back, he improved the their musical system, and made it
perfect, and wrote his famous Philosophy- that is, I believe, only in my possessionHis lines to the 'Comely Tune' and others reveal a great deal of his opinions.
They were all well acquainted with the origin ofthe Theological Puzzles, which are
thoroughly explained by Patric Mhor. They believed in a perfect God, a perfect
Christ, and that Primitive Christianity is a perfect Religion, if properly understood and
practised by mankind.
On one occasion 'Gesto', Captain Simon Fraser of Knockie, John Bain McKenzie
and my father met one night, and they had a great time together. 'Gesto' and John
Bain played the pipes singly then together. 'Gesto' and Captain Fraser also played
Strathspeys and Reels on the violin.
Page 17
Peter Bruce, when a boy, had lessons from 'Gesto' on the 'Glass Mheur' [Finger
Lock]. I have no doubt whatever about 'Gesto' playing the pipes and violin, and
McLeod's published book is the real McCrimmon Notation. Both my parents could
read it. Peter Bruce had lessons from his father, and finished his tuition with 'Gesto'.
Bruce taught me in the same way.
The Pipers Warning System
According to tradition, they had a perfect warning system of signals in the
highlands in olden times. At night, bonfires were lit on the prominent hills to warn the
people. The bagpipe was also used as a warning instrument. Infact, Pipers had a
perfect code system of notes, which they used in Warning Tunes. It will be observed
that the notes in the last two bars in warning tunes are the same. By this arrangement,
pipers could alter the original notes in these bars, and use the code notes instead. With
this secret code, the piper could warn his master to save his life. By this means, the
MacDonell's Piper gave the raid on 'Cille Chriosd' away, and saved the people in the
church from being burnt to death. It was customary for every Piper within earshot of
the secret notes, to strike them on his own pipe. By this means, people were warned
that the raid was on, and the warriors were gathered to fight the enemy. It was a signal
for the women to gather the children and seek pre-arranged shelter, and the old men
and boys gathered the stock and cache them till the raid was over.
The Pipers Warning to his MasterNormal
ni. . i i v. i r i
Danger, miles away
Nearer
Very close
lto^lto#(l
The Taorluath Movement, as written here, is in its only correct place, and
should never be used in other Pibroch tunes, as it is only correct in the last two bars of
all Warning Tunes and in obsolete today. These code notes have no place in laments.
If Donald MacDonald had taken Peter Bruce's advice and written for the pipes
only, his book would have been better. When Peter Bruce was teaching me from Neil
McLeod's Book, I had MacDonald's Book at that time, and as he could play all the
tunes that are in it, he used to explain to me how to play the beats in these tunes.
Patric Mhor MacCrimmon said, 'That Christianity could never succeed until war
was abolished and mankind adopted a more humane method of settling disputes,
instead of fighting one another.
MacLeod's is the only book that starts the tunes correctly.
Page 18
is
•
a beat found
M
b_|
vl
m
||
in
Old
'The Duke
of Hamilton's Lament'
Notation
hi- e- diri - vi- e OR hi- u diri vi- u
These beats belong to the theory of speaking to one another on the pipes and are
supposed to~be used
that purpose
only* for—
£?
/
m
-i±E^i
f fl
I I
* 1 *>
'Hinin- *~afrihdrin- m,in,' Hin- dnn- in- in
' Ho- da- dir- in- da,' is 5 syllables ofthe Crouluigh Breabach.
You will see by the Oban Times, that Lachlan Bruce has also said that 'Gesto'
[Neil McLeod] could play the pipes.
Donald MacDonald wrote his book for various instruments, which was a great
mistake, and he introduced runs and notes that never were in MacCrimmon Notation.
Patric Mhor McCrimmon wroteWhy talk of peace, tis waste of breath,
There is no peace, except in death,
The silent grave; our last abode,
Our dust lies here, our souls with God.
Both Neil McLeod and Peter Bruce spoke to McDonald about the flourishes and so
did his father, but being a conceited man, he would have his way and his book was a
failure.
Angus McKay improved on MacDonald's method but he made innovations of his
own, and others have blindly followed in McDonald's and McKay's footsteps. Later
books are worse because they omitted a note in the principle McCrimmon beats- see
McLennon's Book.
The Piobaireachd Society followed in McLennon's footsteps.
McLennon also made 2 beats ofthe Doubling to be played in the time of one beat
in the Singling- this is not the McCrimmon method at all and is the ruin of the Great
Music.
lay with no jerks- no breaks- play one continuous flow of melody.
m
T £
Make the note sound- 'he- yin'. The D grace note,
as it were, sweetening the 'in', note A.
Mr. Harry Fraser, nephew of Simon and taught pipes by him, told me [B. J.M.O.] that
the Piper's Warning system consisted of transposing 'hin- dirin- hin' with 'ho- diriro'
in either 'Piper's Warning to his Master' or a march 'Jock is far Awa". Prince Charlie
was being rowed to Lady Lindsay's Castle. She had set a trap for him, but the piper,
knowing this, played the warning from the battlements. The boat turned away and the
Prince was saved. The piper had to play the tune to Lady Lindsay, who then cut off
both ofthe piper's hands.
Page 19
McNab's Salute.
Old Notation- Hi- en bietrie- o, dro- radin, hi- en bietrie, hi- ororo,
Hi- en bietrie- o, dro- radin, hi- o diriro, hie- ririne. 11 BIS
New Notation- He- in betre- o, drie- rodin, he- in betre, hea- ororo,
[ By Patric Mhor] He- in betre- o, drie- rodin, hea- ie- diriro, he-aririn. 11 BIS
Pipers should study this strain, and compare it with Angus McKay's style and both
of Glen's settings. It will be observed that superfluous GED cadences have been
introduced. The phrases then are disconnected and the time is meaningless. The old
piobaireachd tunes were simple, which was their charm. The Sheanntaireachd must be
studied- the beats in McLeod's Book are correct. Neither McLeod or Peter Bruce used
the GED cadences
When Patric Mhor McCrimmon went to Italy, he secured the original MSS of the
Scriptures that Guiseppe Bruno had, and other documents, relating to the alteration of
several passages in the Scriptures.
I'll just mention two ofthem-,
We read in the Bible nowadays that Christ said, 'I came not to bring peace, but
a sword.' [MattX 34]. The original version is, 'I came to bring peace, not a sword'.
Another oneChrist said to Peter,' On the mountain of Truth, Love, and Charity, I build My
Church, and no man, or nations of men, will ever overcome it'. [ Matt 16, 18]
See XVI1, in McLeod's Book. Note these- 'thieo', and 'theo', in the tune. This tune
deals with the above altered passage. 'Th' means truth. The 'Thieo' beats are not in
any ordinary notation. In fact, not one tune m McLeod's book has ever been translated
correctly.
About the time of the Battle of Culloden, or shortly afterwards, every vestige of
Patric Mhor McCrimmon's Philosophy was destroyed by the Clergy of the period.
The Bible contains many alterations that were made when the State took over
Christianity, about the 2nd or 3rd Century. Christ's sublime and beautiful teachings will
be understood some day and no man ever trod this earth who knew or understood
those teachings better than Patric Mhor McCrimmon.
Isabel Nic Kay [No. XVI, Gesto].
'I hi- rerine, ho- botrie, hia- virla, ha- botri.' [Never translated
correctly].
My parents had a Gaelic song to it. There are no cadences or 'tre's' in it. Bruce
played it beautifully, and I have never heard anyone play it better.
These beats in McLeod's Book cannot be improved upon'Hi-o- dro- radin', 'Him- bo- dro-din', 'Him- botra-o'.
Page 20
'Hia- virla' or 'Hea- varla'
Simon Fraser was 69 years old on 12/ 2/14. One of his mother's brothers was over
100 when he died.
Patric Mhor McCrimmon taught 'war or Peace' to my Great Grandfather. This
version had the 'Ho dirin' variation in it.
'B' or V are mostly used in notes ascending, as 'Him- bodro- din,' 'Ho- drova', 'hie- vi', 'ho- va', 'hin- bo' or 'hie- ve'.
In descending beats, say from F to E, 'hi- u' was used by Patric Mhor in both
notations. Do not use the 'b' descending.
Variations are played a little quicker in the doublings but not as quick again as the
singling.
Patric Mhor McCrimmon wrote an essay called 'The Failure of Christianity'. For
the sake of those he loved dearly it has been lost to the world as it is said to be buried
with him. He [Pat Mhor] said often- 'Oil and Water will not mix, no more than Love
and Hate'. Since I was a boy, I can see a great change for the better. Even bigotry is
less fierce than it was, and even Roman Catholicism is getting far more liberal
towards other sects. A truly intellectual person does not like war and quarrelling over
religious matters. And the people of this world will, in time, begin to realise the Great
Truths of Christianity.
Re- The Prince's Salute. There are several settings of it, but I prefer Peter Bruce's
to the others. It runs as follows'I hin- bietrie, hie- a- bodro- va,
hi- en- dinin, o- chin- to, hie- a- chin.
'Bie- trie' or 'be- tre' should always be
written as follows-
11 IT
The four notes are all struck together, as it were as in Clan Ranald's Salute-
m m
/
-&
.
'He-- in- dro, he- in, tre- vi- a, ho- un.'
MacGregor's Salute is one ofthe best 6/8 tunes. It is also one ofthe correct ones in
A. McKay's Book.
Montrose's Lament- 'I him-bodra, hi-o-en-in, hi-en-o-dra, hia- chin- ho,
Hia- virla, hi- o- dro- hie, hia- virla, hia- chin- ho. II BIS
Angus McKay's version of the tune is a misprint. I think, as there are very
peculiar notes in the first strain, I am giving you this from Neil McLeod's MSS. The
proper use ofthe letter T is one ofthe McCrimmon secrets. Patric Mhor McCrimmon
said- 'Christ Himself called two fishermen for his first two disciples to teach it.
Page 21
Melbourne's Argus was owned by a nephew ofthe late Dr. K. N. MacDonald.
Piobaireachd is Classical Music- There is evidence of it being of Italian origin, as in
McCrimmon's time, we had no composers of Classical Music in England, Ireland, or
in Scotland. The Sheanntaireachd System, its Vocables and beats, is the
McCrimmon's and is the only true piobaireachd system.
Have you read Professor Draper's 'Conflict between Religion and Science' It gives
a very similar account of the murder of 'Bruno' as Patric Mhor McCrimmon does,
which was published in McLeod's Book.
Re- Union Pipes. They are played much after the Flute Style, and they are nice in a
room, very sweet and mellow. Being able to play the violin, I seldom bother with the
Union Pipes, still, they are easier to play than our pipes.
WAR is the sport of KINGS.
'Him- bodro- din' means 'I weep for thee', or 'I mourn for thee'
Four Vocables- see V or IX in McLeod's Book.
"Him- bodra- o', 'Him- bodra' and 'Him- bo'- You will find these in Glengarry's
Lament, Captain McDougall's Lament and others.
See Judges 2 and 5. In one Bible it runs- 'And an Angel ofthe Lord came up from
Gilgal to Bochim'. [verse 1]. 'And they called the name of that place 'Bochim' and
they sacrificed to the Lord. [verse5].
In another Bible, or version, it runs- 'And an Angel ofthe Lord
went up to the place of weeping' etc. [verse 1]. 'And the name of that place was
called the place of weeping, or tears. And there they offered sacrifice to the Lord'
mi m
i
Boc- him or Bohim is
im- bo- dro din, Boc-mm or bochim 'Vale of tears'
This bears the idea of the Lament. It is very strange that the two Bibles differ in
the wording, but reading them side by side, one can see how easy it is to alter the
wording of certain passages.
Take Jeremiah Chap. 48, verse 16. 'Kir- he- re's ; because the riches he has gotten
are perished'. Another Bible says- 'the brick wall, because he hath done more than he
could, therefore they have perished' Which is right?
However, the idea of the lament is in these passages. The List of Books left out of
the Bible go to prove the contention of the McCrimmons that the Bible has been
greatly tampered with in the interest of theologians.
This war,[1914-1918] is Christian against Christian.
Letter 6/ 1/ 15.—At Ballarat, my son, Hugh' won all 1st Prizes, and he has won 6
times out of 7, the Pipe Band Competition.
Page 22
Erin has a strong claim for the Bagpipe. Piobaireachd should end with 't', not 'd'.
'The Flowers ofthe Forest' is the main lament played at funerals, now. This tune is
only a burlesque on our chanters, but it goes fairly well on the Brian Boru Chanter.
The last letter, I sent to the Oban Times, did not appear, and it contained very strong
evidence, from a Great grand Nephew of Charles MacArthur that 'Gesto' [Neil
McLeod] could play and teach the pipes.
It is very difficult to write any Classical Music as it is being played. This is well
explained in Abdy Williams 'History of Music'. The pipes have one continuous sound
which cannot be made softer or louder, consequently, the pause, or accent is the chief
mode of expression to bring out the soul ofthe music.
For the violin playing, style bowing is the great art in Strathspey playing, but style
playing of piobaireachd cannot be put to paper. Old pipers had nearly all the same
style, but new ones, I find , have styles that are entirely different to Peter Bruce's and
Stewart's. Playing from the ordinary notation is too meaningless and mechanical. It is
devoid of expression and jerky too.
Arnold in 'The Light of Asia' on Buddhism, in the preface, mentions how great
ideas become corrupted by priesthoods.
Patric Mhor, in his 'Dream of Love' says'If Antichrist there be,
'Tis man made mystery,
With Selfishness the Key,
And grim Hypocrisy' The Comely Tune.
All secrecy and mystery about religion, secret societies, etc, is wrong.
Examine these and you will seeNo Christianity !
No Infinitive Love !
'Hie- ri- rine hin' !
'Gesto' wrote"Tistrue, too true,
Though't strange may seem,
All creeds belie
The great Supreme,.
On the violinPlay- 'Macintosh's Lament' in the key of D Major and G minor
'Glengarry's Lament' in the key of A major
'Finger Lock' in the key of G major.
To play Macintosh's Lament' in the key of A major as in A. Mackay's book, is
wrong.
Re- Sheanntaireachd beats in tunesBeats such as 'Hie- ririne' and 'hi- ororo' should never occur in the same bar, as in
the last bar ofthe urlar. It is always- 'Hie- ririne, hie- ririne' together, or 'hi- ororo,
hi- ororo', together. There is never one of each occurring together in real
MacCrimmon Music.
Page 23
When a tune starts with 'hi- eririne' beat, the first variation should start with 'hin- din'
not 'he-in'. There is a difference in 'Hie- ririne' and 'Hie- rurine. Where the letter 'u'
appears in McLeod's book, it means that the low G note must be heard distinctly.
Pipes are never tuned to low G.
The religion ofthe McCrimmons was what I would call 'Christian Spiritualism'.
They thoroughly believed in Primitive Christianity, and in the belief in the Future
State.
The great art on playing Piobaireachd is the skilled use of the pause. Donald
MacDonald, in his book, used it a good deal. T"he (?<xu_9«. - /7\
Crunluath or Crouluith means 'confusion'. Crouluith is the proper name for the
movement [ as correct in Neil McLeod's book 1828].
The 'Crannin' on the Union or Irish Pipes, is a kind of Crouluigh movement.
Gilmore, the maker of my pipes, could do it well on the chanter.
Hector MacLean's Warning is a warning tune, and all of these end with two
'hieririne' beats.
Creeds and ceremonies had nothing to do with the simple and sublime teachings of
Christ.
My father's mother was a first cousin of 'Gesto'. 'Gesto was a fine violinist and one
ofthe best of his day on the pipes.
The Sheanntaireachd in 'Gesto's' Book is genuine MacCrimmon music- The
Perfect System.
[Letter dated 4/3/17]I have 4 MacKinnon tunes.
Simon Fraser was 72 on 12-2-1917
Simon Fraser liked poetry- Edwin Arnold's 'Light of Asia' and Thomas Bracken's
'Not Understood'
Rory Mhor MacLeod's Lament is not correct in Angus Mackay's Book- I have the
perfect setting.
The Earl of Ross's March and The MacRae's March should not be played too slow
nor too fast.
The Vaunting is a very difficult tune. It was one of Peter Bruce's masterpieces.
The MacKays altered the tunes. The doubling ofthe high A is their inovation. The
tunes they claim are not their compositions [eg. The Desperate Battle].
The new Nototion of Patric Mhor was the perfect system, and in Neil MacLeod's
unpublished Book. My father and mother had both systems.
Pipe Chanter ReedsGet a knife, this shape \>r_ J J in the blade, and with a little practice, you will be
able to make them. You can easily get the sheet of copper to make the staples, and
with a small round file -=^ , and fine sand paper, you can make them with some
practice.
Use the best Indian cane for the Chanter reeds, and use the outside ofthe cane.
Take old reeds to pieces and study them, and you will soon catch on. Hollow out the
pieces of cane like this /*"N. Then cut them this shape i > , and so on.
Cut the cane about the width you want, and cut it like this ■■k'Sr- [cross section
of cane and how to cut it JA l/-~
Page 24
Shape the lower ends first then tie round the middle and put the staple or piece of
rounded copper in, then finish the outside ofthe upper end ofthe reed. A small gouge,
this shape [cross section f~^ ] is the best.
Selfishness is one of our worst passions, and is very difficult to master- see Light
of Asia. Patric Mhor maintained that the Jewish Old Testament should never have
been joined to the New Testament at all as it contains too much blood and war.
Teaching Pupils- Teach the scale first, then teach simple tunes, then add grace
notes as they proceed with the tunes.
John MacGregor gave Dr. Curwin and Mary Glover their ideas of the Tonic Solfa.
John MacGregor was taught the pipes by Neil MacLeod of Gesto. My father said that
it is no use arguing with a Highlander as a rule, as he is so stubborn, and that is the
reason, or one ofthe reasons they are good at war. John MacGregor was a piper who
was learning from John MacCrimmon and 'Gesto'. At the same time, my father was
learning the MacCrimmon notation.
The first ofthe MacCimmons was Petrus Bruno or Cremmon, and he was an Italian
and strange to say, Verdi's Opera has, '111 Tro- va- to- re' and 'La- Tra- vi- a- ta- ore'. These are all vocables used in MacCrimmon notation, which bears out what I
have said.
'Tro ' and 'dro' are the same, only one is played more crisply. Same as 'Dra' and
'Tra'. 'Dro' and Dra' are played more loosely than 'Tro' and 'Tra'.
[Letter dated 5/4/1918]The Battle of Culloden was composed by John MacCrimmon, but altered and
claimed by Angus MacKay. You will see in MacKay's Book 'The Glen is Mine', by
John MacCrimmon, and you will note the similarity between the two tunes, as John
used the high A- 'dili' a good deal in his compositions. And the Doubling of the
Urlars, with the high A, was an innovation introduced by the MacKays, which was
not used by the MacCrimmons, except John.
'The Vicount of Dundee's Lament' is altogether wrong in A. MacKay's Book.
Angus MacKay was not a good piobaireachd player, but he was a good march,
strathspey, and reel player. Peter Bruce knew him well and told me that he was
nothing like his father, John MacKay, in piobaireachd.
Re- the Practice Chanter- we make the bottom bore a shade larger up to the bottom
note, low G. I have seen the holes in Chanters tapered or counter sunk, but, like
yourself, I see no improvement.
The Battle of Culloden, by John MacCrimmon, written from the original'He- vi- dili, e- bitri . he- vi- he, ie- drie,
o- dro,
in- drin,
he- vi dili, ie- drie,
o- dro,
in- drin,
Page 25
Battle Of Culloden [continued]'He- vi- dili, e bitri he- vi - dili, ie- drie,
. he-vi-dili, in-drin. II
In this tune the Scale is- A, B, C, E, F, and high A. The metre is 6, 6, 4. Use the D
grace note in this tune between the E and C, and the E and B to sound like'dili- yie' for the C, and 'dili- yo' for the B, and 'dili- yin' for the low A.
We have a letter written by John MacGregor to my father in 1840, saying that
Curwin and Miss Glover were getting their idea of a new system for singing from
him.
Breaconfield wrote- 'a sophisticated Retorician inebriated with the exuberance of
his own verbosity'.
[Letter 6/2/19].
Stark's pipes- Splendid but the chanter is difficult to fit with a reed. When you
sound the E note, with the A finger off the chanter, the E note is a shade flat, but it is
in tune when the lower finger is on the chanter.
Patric Mhor MacCrimmon said, 'When war ceases, civilization begins'.
Re- 'The Prince's Salute'- I don't play the F Sharp, [F#[, in this tune, which is a
mixture of G and A Minor.
Re- Mary's Praise' and 'The Harp Tree'. These are in the key of A. Consequently,
D would not improve the sound of these tunes.
Note These- 'ha- ra- rin' is not the same as 'ha- di- rin',
And, 'ho- ri- rine' is not the same as 'ho- di- rin',
And, 'ho- da- tiri' is not the same as 'ho- da- triri'.
[Letter 1/10/19]
'Piper's Warning to his Master''Hie- rie- rine- hie, hia- ra- din-dra, hio- ro- ro- ha, hie- a- o- hin- dro, etc.
This is from Neil McLeod's Book 1826.
Most ofthe MacCrimmon Tunes are in 6, 6, 4 metre- Six bars in the first strains and
four in the last.
John MacKay was taught with Alexander Bruce at the same time, by John
MacCrimmon, who taught 'Gesto' at the same time. Alexander Bruce was Peter
Bruce's father, and was piper to 'Gesto' after he learnt how to play. Alexander Bruce
and John MacKay were great friends, but Bruce was the better player, as he always
believed that the MacCrimmon system was the best.
William Ross's Book is better than MacDonald's. Ross explains about the beats and
run down graces in MacDonald's Book.
I generally play with two drones as it balances the sound better. I use a large drone
with only two joints and I like it, but three joints are more showy, of course.
Page28
The beats, 'hi- o- dro- din', 'hi- o- dro', 'him- bo- tra- o', 'and 'him- bo- dro- din'
contain the B and C notes, but you must be taught how to play them. The Campbells,
MacArthurs, MacKays, and others, tried to improve the Sheanntaireachd but all have
failed.
Longfellow says'Look not mournfully at the past,
It comes not back again,
Wisely improve the present,
And go forward to meet the future
With a stout and manly heart'.
[Letter 28/2 21]
MacLeod of MacLeod's Lament'
Urlar, 1st Strain' Hin-do bie-trie . hi-o dro-din,
hin- do bie- trie . hi- un o- din,
hin- do bie- trie . hi- a o- dro,
hie- ri- rine . hie- ri- rine.
[One ofthe MacCrimmon settings].
[Letter 5/5/21]
'Him- bo- dro- din', ' hi- o- dro- ra- din', ' hi- o- dro- din', ' hi- o- dro',
'him- bo- tra- o', and 'hi- o- en- en' are always played the same, except at the end of
a strain. The 'hi- o- dro din' and 'hi- o- dro' are B.
'He- a- ir- irine' and 'hie- ri- rine' should be played to sound 'He- yir- irine' as the
'a' is only put in to show the D grace note is used.
[Letter 20/7/21]
Drones.- I make the Big Drone in two joints. For boring the the BelHn the top
joint, I have made a reamer, one inch in diameter, and oval, like this- C^g)
to fit a brace for boring out the furrows like reamers for boring out hinges. I find this
acts well, for the bell.
I told Dr. Bannatyne, long ago, that in Old Notation, all the letter I in, eg, 'hi- o'
and 'hie- a', are always sounded E. 'Diriro' is sung as it is written. It is used a great
deal in 'The Bells of Perth', Which is the last tune taught to me by Peter Bruce.
'dro' is thrown off the chanter more loosely than 'tro', which is crisper.
Some beats-'hi-o-dro-din', 'hi-o-dro-ra-din', 'him-bo-dro-ra-din',
'him- bo- tra- o', hi-a-virla', hi-o-din', hi-a-din', hi-o-ro-ro',
'hi- ri- rine'. Old Notation- 'hi- o- en- in.' New- 'he- o- in- un'
'The Red Hand' is a parody composed by Patric Og McCrimmon, on 'The
MacGregor's Salute', composed by his father Patric Mhor MacCrimmon. Patric Mhor
composed the 'Harp Tree', and Patric Og composed 'Corriness'- 'The Lament for The
Great Music'.
'The Unjust Incarceration' - I have the tune under another name- 'The Black
Chanter'- composed by Donald Roy MacCrimmon. But the tune was altered and
claimed by the MacKays. The beat 'Hi- o- dro- ra- din' often occurs in this tune, and
it is a fine tune.
Page 25
Battle Of Culloden [continued]'He- vi- dili, e bitri he- vi - dili, ie- drie,
he- vi- dili, in- drin. II
In this tune the Scale is- A, B, C, E, F, and high A. The metre is 6, 6, 4. Use the D
grace note in this tune between the E and C, and the E and B to sound like'dili- yie' for the C, and 'dili- yo' for the B, and 'dili- yin' for the low A.
We have a letter written by John MacGregor to my father in 1840, saying that
Curwin and Miss Glover were getting their idea of a new system for singing from
him.
Breaconfield wrote- 'a sophisticated Retorician inebriated with the exuberance of
his own verbosity'.
[Letter 6/2/19].
Stark's pipes- Splendid but the chanter is difficult to fit with a reed. When you
sound the E note, with the A finger off the chanter, the E note is a shade flat, but it is
in tune when the lower finger is on the chanter.
Patric Mhor MacCrimmon said, 'When war ceases, civilization begins'.
Re- 'The Prince's Salute'- I don't play the F Sharp, [F#[, in this tune, which is a
mixture of G and A Minor.
Re- Mary's Praise' and 'The Harp Tree'. These are in the key of A. Consequently,
D would not improve the sound of these tunes.
Note These- 'ha- ra- rin' is not the same as 'ha- di- rin',
And, 'ho- ri- rine' is not the same as 'ho- di- rin',
And, 'ho- da- tiri' is not the same as 'ho- da- triri'.
[Letter 1/ 10/ 19]
'Piper's Warning to his Master''Hie- rie- rine- hie, hia- ra- din-dra, hio- ro- ro- ha, hie- a- o- hin- dro, etc.
This is from Neil McLeod's Book 1826.
Most ofthe MacCrimmon Tunes are in 6, 6, 4 metre- Six bars in the first strains and
four in the last.
John MacKay was taught with Alexander Bruce at the same time, by John
MacCrimmon, who taught 'Gesto' at the same time. Alexander Bruce was Peter
Bruce's father, and was piper to 'Gesto' after he learnt how to play. Alexander Bruce
and John MacKay were great friends, but Bruce was the better player, as he always
believed that the MacCrimmon system was the best.
William Ross's Book is better than MacDonald's. Ross explains about the beats and
run down graces in MacDonald's Book.
I generally play with two drones as it balances the sound better. I use a large drone
with only two joints and I like it, but three joints are more showy, of course.
Page 26
[Letter 14/11/19]
'The Finger Lock'- The name comes from the Crouluigh Trebling and is
played very fast. Old pipers used to say their fingers got locked when trying to play it
fast. MacDonald's Book says this. It is a Scotch Tune.
'Tumilin O'Connichan'- Petrus Bruno composed it after he returned from
Ireland.
„" Lament For the Only Son'-
m
This beat should be as shown- B to C grip, and
not C to C grip.
.1
To be a good Pibroch player, you must have a perfect ear.
I have Patric Og MacCrimmon's setting of 'Corriness' as taught to Charles
McArthur- my Great Grandfather. It was composed by Patric Mhor, and the real name
is 'Lament for the Great Music'
The MacCrimmons did not believe in Baptism, or any form of Ritualism, and
looked upon as pagan. They believed in 'GOD IS LOVE', and not a mixture of Love
and Hate They believed in Primitive Christianity as a Religion of Love and their ideas
resemble pure Buddhism a great deal
'The King's Taxes' is only a fair tune. 'The Red Hand in the MacDonald's Arms', is a
6, 6, 4 tune. [See altered MacKay's Book]- Two bars too many, and also the wrong
accent on some notes.
There are four different styles ofthe 'Hi- ririne' beat.
^'Dra' occurs in the second strain ofthe 'Finger Lock', and is always played thusThe half beat 'ir- la' is used in the following beats'Hia- virla", hia-virla- din, and 'hia- virla- o'. This half
)eat is used throughout Angus MacKay's Book, and is one ofthe greatest mistakes
that MacKay made, in writing piobaireachd.
The late James Center used 'dra'. He played 'The King's Taxes' well. Old John
MacKay was a good played, but he did not know the difference between 'Ho- da- tri',
'Ho- da- tiri,' and ho- dra- ta- ta- te- riri. When he met Alexander Bruce at Kyleakin,
for the piobaireachd prize, Peter Bruce's Father beat him as he played 'War or Peace'.
'Ha- dra' is used in 'Macintosh's Lament. Sometimes 'dra- ha' is used, but 'ha- dra'
is the McCrimmon method.
[Letter 15/ 1/20]
Pipe Bags. Best is from 'Kangaroo skin. Sheep skin makes poor leather.
Kangaroo skin generally lasts 8-10 years. I had one set for 14 years. Also use
kangaroo skin for whips. Use treacle if the bag is dry. Sheep skin is tanned with alum
and salt, but wattle bark tanning is best.
The 6/ 6/ 4 System is the correct MacCrimmon System. The 1st and 2nd strains ofthe
Urlar has three bars in each strain, and the last strain has four bars. This makes 16
bars in all. These three divisions have deep meaning- Three, or 'TRINITY'. I do not
believe at all in ritualism in the simple teachings of the Great Master. Ireland is
suffering from too much Priestcraft!
Page 27
The MacCrimmons played only Laments, Gatherings, and Salutes- no marches,
strathspeys or reels.
Charles MacArthur was the only pupil who kept strictly to the MacCrimmon
Notation.
Re-' Corriness'The simple variation 'Ho- chin- to', he- chin- te', is in the 1st Variation of the
'Marquis of Tullibardine's Salute' [Gesto XI]. It also occurs in 'Corriness'- the
companion tune to 'The Harp Tree', by Patric Mhor. Patric Og said to his father, 'I
will compose another tune, as near as I can, to yours, but I will call it 'Cumha na Ceol
Mhor', because, 'The Piob that we love to hear,
Will soon make room for sheep and deer'.
The great mistake in most of the pibroch tunes, is trying to alter the accent of some
of the beats, which are always played the same where ever they occur; and putting
grace notes in that should be played as principle notes.
There are seven variations in 'Gesto's Book of 1828, that are not in ordinary
notation, and one beat- 'dro- ho'. [See Marquis of Tullybardine's Salute { Gesto XI}]
See also 'I got a Kiss ofthe King's Hand', 'Captain MacDoughall's Lament' and
others.
The 'hi- en' beat is not in 'The Great Spree'Urlar'I hi- o diriro, hi- o din hi- o- ho, hi- o- dro,
hi- o- dro, hi- a- din hi- o- diriro, hi- o- din,
hi- o hie, hi- bie- trie hi- o- ho, hio- dro- din,
hi- bie- tie, hi- o- din hi- o- dro, hi- a- din,
hi-o-diriro, hi-o-din, hi-o-hie, hi-bie-trie,
hi- o- tro, hi- o- dro- din hi- o- dro, hi- a din. II
[ Old Notation]
The MacCrimmons did not believe in the Fall of Man. Patric Mhor used to
say that this was a fable, was silly, and ridiculous, and that it was not worth talking
about- it had nothing to do with Primitive Christianity.
Neil MacLeod says"Tis true, too true, though't strange may seem,
All creeds belie the Great Supreme'.
All my sons are Freemasons, but they do not believe in secrets invented by
man to delude his fellow creatures. There are no secrets in Primitive Christianity.
Priesthoods always inflict degrading nonsense on great ideas invested in their charge.
The MacCrimmons contended that the Old Testament should never have been added
to the New Testament on account ofthe horrible wars and filth that it contains.
[Letter 12/11/20]
Re Campbell of Lome Canntaireachd- The 'Groat' and 'Unjust Incarceration' are
badly written, not started correctly, and too much ofthe 'H' and 'B'.
My Grandfather [on my father's side], knew Campbell personally, and he advised
him to keep to what he was taught- the MacCrimmon notation.
Page28
The beats, 'hi- o- dro- din', 'hi- o- dro', 'him- bo- tra- o', 'and 'him- bo- dro- din'
contain the B and C notes, but you must be taught how to play them. The Campbells,
MacArthurs, MacKays, and others, tried to improve the Sheanntaireachd but all have
failed.
Longfellow says'Look not mournfully at the past,
It comes not back again,
Wisely improve the present,
And go forward to meet the future
With a stout and manly heart'.
[Letter 28/2 21]
MacLeod of MacLeod's Lament'
Urlar, 1st Strain'Hin- do bie- trie . hi- o dro- din,
hin- do bie- trie . hi- un o- din,
hin- do bie- trie . hi- a o- dro,
hie- ri- rine . hie- ri- rine.
[One ofthe MacCrimmon settings].
[Letter 5/5/21]
'Him- bo- dro- din', ' hi- o- dro- ra- din', ' hi- o- dro- din', ' hi- o- dro',
'him- bo- tra- o', and 'hi- o- en- en' are always played the same, except at the end of
a strain. The 'hi- o- dro din' and 'hi- o- dro' are B.
'He- a- ir- irine' and 'hie- ri- rine' should be played to sound 'He- yir- irine' as the
'a' is only put in to show the D grace note is used.
[Letter 20/7/21]
Drones- I make the Big Drone in two joints. For boring the the Bell in the top
joint, I have made a reamer, one inch in diameter, and oval, like this- d^^
to fit a brace for boring out the furrows like reamers for boring out hingesilfind this
acts well, for the bell.
I told Dr. Bannatyne, long ago, that in Old Notation, all the letter I in, eg, 'hi- o'
and 'hie- a', are always sounded E. 'Diriro' is sung as it is written. It is used a great
deal in 'The Bells of Perth', Which is the last tune taught to me by Peter Bruce.
'dro' is thrown off the chanter more loosely than 'tro', which is crisper.
Some beats- 'hi- o- dro- din', 'hi- o- dro- ra- din', 'him- bo- dro- ra- din',
'him- bo- tra- o\ hi-a-virla', hi-o-din', hi-a-din', hi-o-ro-ro',
'hi-ri-rine'. Old Notation-'hi-o-en-in.' New- 'he-o-in-un'
'The Red Hand' is a parody composed by Patric Og McCrimmon, on 'The
MacGregor's Salute', composed by his father Patric Mhor MacCrimmon. Patric Mhor
composed the 'Harp Tree', and Patric Og composed 'Corriness'- 'The Lament for The
Great Music'.
'The Unjust Incarceration' - I have the tune under another name- 'The Black
Chanter'- composed by Donald Roy MacCrimmon. But the tune was altered and
claimed by the MacKays. The beat 'Hi- o- dro- ra- din' often occurs in this tune, and
it is a fine tune.
Page 29
See 'Gesto' II- 'Hi- o- dro- ra- din'. 'I ha- ra- din- tra' and 'hi- o- tro- ra- din'.
'Dra' and 'Tra' are the same ['dra' is looser]. Always play the GED Grace with E as
the principle note.
[Letter 27/1122].
'The Dying Piper's Coronach'- Patric Mhor MacCrimmon felt angry at his sister
for teaching the tune containing the famous beat to Patric Og. Patric Og MacCrimmon
taught the tune and the beat to Charles MacArthur, my Great Grandfather, and his
daughter taught the Sheanntaireachd and the Gaelic Words to my mother, and she
taught me. The beat is 'dra- diririn trie' and it is very difficult to play on the pipes.
Bea|s- 'Him- bo- tro- din', 'him- bo- trie', 'hi- o- ra- din'.
[Old] 'hin- di- rin'
[New] 'hin- drin- in'.
'Hi- o- dro- din' is always played the same, except at the end of a strain- See
'Gordon's Salute.
'The Lament for the Great Music', correctly played, is its own Lament. Not a single
copy has been correctly written on staff yet.
Peter Bruce, his father, and two brothers, Malcolm and John, were all taught by
'Gesto'. My father was taught to sing pibroch by MacCrimmon.
[Letter April 1924]
The MSS, I sold, was the one owned by Neil MacLeod of Gesto. It was the MSS
that he wrote his books from, to a man in Canada, who is related to John Dubh
MacCrimmon, and he will not publish the MSS.
In 1907, when we went to Warrnambool to teach piping there, I happened to leave
Gesto's Book of 1826 behind on the wall olate ofthe shop, I used to work in. Not
thinking it was valuable, I did not bother about the book, till I got corresponding with
Dr. Bannatyne, who informed me that he was the only one in Scotland who knew
anything about the MacCrimmon Notation. So, I went to inquire of the man who
rented our place at Benalla, he told me that his children have got a hold of the book
and destroyed it. The most ofthe 50 tunes that were in it, are in Angus MacKay's and
D. MacDonald's Books.
The first tune in the 1826 book was 'Sir William Wallace's Lament. It was one of
Patric Mhor MacCrimmon's pupils, who said that it was a pity that there was not any
tune composed to Sir William Wallace's memory. So Patric Mhor MacCrimmon
composed it. When the grants found out that Sir William Wallace was a Welshman,
they claimed the tune and called it then their Gathering. But a good Pibroch Player
can see at once that it is a beautiful lament, when properly played. It is my wife's
favourite tune, and I often play it for her.
The sold MSS was the one Neil MacLeod of Gesto took the tunes from, that are in
his books of 1826 and 1828.
The Cave of Gold was composed by Donald Mhor MacCrimmon.
Page 30
[Letter to Dr. Watt, Feb. 1909].
Patric Mhor MacCrimmon's improved NotationHigh A di as in Di mple
High G hu as in Hoo ligan
F di as in Ni gh
E he as in He ave
D ha as in Har vest
C hie as in Hay
B ho as in Ho bart
Low A hin as in Hin ge
Low G hun as in Hun dred. Sounding 'He- a- o- din' as 'he- yo- din'.
[Letter to Dr. J. D. R. Watt. 16/8/11].
My father was a relation of David Fraser [Lovat's Piper] and was born July
1796. He became acquainted with Neil MacLeod of Gesto in 1812, who introduced
him to John MacCrimmon. 'Gesto' wrote in his book of 1826'The downfall of mankind through Adam and Eve,
A tale, which only poor fools can believe'
Also- "Tis true, too true, though strange may seem,
All creeds belie the great Supreme'
Things were pretty severe in 'Gesto's' time when he would talk or write that way.
'The Vaunting' was the second Pibroch I was taught by Peter Bruce.
The MacCrimmons used only two drones, but later on the big drone was added to the
pipes.
[Jan 28 to Dr. Watt]
There is no mention of the MacCrimmons in the Rev Patrick MacDonald's
Book as the clergy had no love for for these great pipes.
[Letter to Dr. Watt 21/ 5/ 28]
The Coronach beat, by Patric Og MacCrimmon
Is very hard to play[I believe thatthis beat has been incorrectly qi Joted and snouia oe-
igg* i
dra- diririn trie- B. J. M. Orme]
[Letter to Dr. Watt 30/ 1128]
I buried my wife last week. We were 56 years together.
[Letter to A. K/C. 19/2/29]
My father's mother was a cousin of 'Gesto's', and my mother was a grand
daughter of Charles MacArthur.
Page 31
I called the tune 'Menzies Banner', whereas Grant in his book calls his first tune
'King Edward's Salute'
I have the condemnation of Giordano Bruno by those who murdered him, but they
have not mentioned the real cause why they did so. The condemnation by the R. C.
church was by Essler.
My father learnt the Sheanntaireachd from John Dubh MacCrimmon and 'Gesto'.
And as he was a fine player on the Jew's Harp- he would play the tunes as well as the
instrument would allow. They wanted him to learn the pipes, but, having to travel so
much, he had no time to do so.
The Urlar of 'Mary MacLeod's Lament' has 'hi- o- din', 'hi- a- din' and 'hindiriro- hin' beats in it. These are pronounced 'he- yo- din', and 'he- ya- din'.
One of the MacLeods went over to Scotland to hear the famous MacCremmons
play. He was so deeply impressed with the fingering of the chanter that he induced
dun coloured John and his son Donald to go to the Isle of Skye with him to found or
start a college of Pipe Music. The MacCrimmon Language or system of teaching was
begun in Ireland, and afterwards rendered more perfect by Donald and Patric Mhor in
Scotland. Patric Mhor went to Italy about the middle of the 17th Century, where he
studied Solfeggi for over two years, and on his return, he perfected the system.I have
two books of old MacCrimmon Music and can read and translate it all.
[Aust. Scot, Oct. 1909]- The MacCrimmons became so famous that pupils were sent
to them from many parts of the Highlands. One of the best certificates a piper could
possess was his having studied under the MacCrimmons. Finding their number of
students increasing daily, they, at length, opened a college or school at Boreraig,
about 8 miles south west of Dunvegan Castle. Then, seven years study was prescribed
for each scholar. Lessons were given out, and certain periods were fixed for receiving
instructions. Their speciality was Pibroch, and many students became proficient in
this one branch of Pipe Music- a branch which in the opinion of most pipers, far
superior to Reels and Strathspeys, and marches, etc. They held the farm rent free unti
the time came when all the heredity pipers were either dispossessed of their lands or
asked to pay rent for them. The proud MacCrimmons declined to pay rent and broke
up the college. From that day ceased as a family for the cultivation of Pipe Music.
Their farm was let to 18 tenants and drew over 100 Pounds rent yearly. So they must
have been treated with considerable lenity by the Chiefs.
"MacNeil Of Barra' is a Lament, not a March. It commences 'I- him- bo- dro- din'
This beat is always in laments. It is in 'Glengarry's Lament' and Gesto V
['Dungallon's Lament']. And it is in 'Old Woman's Lullaby'.
The proper name is a 'Lament for the Third Earl of Seaforth'.
C. MacArthur played different beats or gracings. Instead of 'hi- ri- ri- hi' he used
'hi- ri- dri- hi'. Both MacArthur and Patric Og were against too many ofthe same
beats in one bar of Pibroch. [J. D. R. W. -'This explains why low G is in the last beat
ofthe two 'he- ir- er- in' beats]
Page 32
Angus MacPherson's brother, Malcolm, was here some years ago. My sons Hugh and
John defeated him at pibroch. If Angus is not better than his brother, then he is not a
champion either. Their father was a good player.
Errors In the Bible Discovered By Giordano Bruno in 1598Exodus, Chap 20, verse 5- 'Jealous God'.
Exodus Chap. 34 verse 14
Matthew Chap. 10 verse 34
Matthew Chap 16 verse 18
Other Versions- Judges Chap. 2 verse 1 'Bochim'- a place of
weeping or of tears. Also verse 4 and 5.
Jeremiah Chap. 48 verse 36—'Kir- he- res',
etc.
It is from 'Bochim' we get the Lament. Jeremiah Chap 48 verse 36 states'Therefore my heart moans for Moab like a flute, and my heart moans like a flute for
the men of Kir- he- res; therefore the riches they have gained have perished'. [R. S.
v.]
Simon Fraser puts this 'Therefore My heart shall sound for Moab like pipes, and My
heart shall sound like pipes for the men of Kir-he-res, because the riches he has gotten
are perished'
Genesis Chap 3 verse 24- 'So he drove out the man, etc'. Patric Mhor's
Sheanntaireachd in English is founded on this as it contains all the vocables of the
beats and all the Sheanntaireachd letters.
Part of his great secret was that, he had in his possession copies ofthe Bible, before
it had been translated, and therefore had proved that it had been tampered with and
padded for selfish reasons. The letters forming the word Christ are in the Word
Sheanntaireachd.
Petrus Bruno composed XVIII, andXIX in 'Gesto's' Book.
'The Red Hand ofthe MacDonald's Arms' is in 6,6,4 metre. There are two bars too
much in the last line. [J. D. R. W. writes-
?
W7
L
as correct]
Page33
A Gesto Tune From Simon Fraser- [Written by J. D. R. W. -Jan 1928]
'The Great Spree''I hi-en,
Ho- vie,
Hie- in,
Hi-o,
Hie- vi,
Ho- vie,
Hi- en,
Hie- vi,
Ho- vie,
Hie- vi,
Hie- vi,
Hie- o- vie,
Hi- en,
Hie- vi,
Hie- vi,
Hie- vi,
ho- diriro,
o- dro,
ho- diriro,
vi- bie- trie,
bie- trie,
ho- dro,
ho- diriro,
bie- trie,
o- dro,
hie- trie,
bie-trie,
o- dro,
ho- diriro,
bie- trie,
bie- trie,
o- dro,
ho- din,
hi- o,
ho- din,
hie- o,
hi- o- din,
hi- o,
ho- din,
hi-o,
hi- o,
hi-o,
hi- o- din,
hi- o,
ho- din,
hi-o,
ho- vie,
hi- o,
hie- o,
dro- din,
hi-o,
dro- din,
hie- o,
dro- din,
hi-o,
dro- din,
dro- din,
dro- din,
hie- o,
dro- din,
hi-o,
dro- din,
o- dro,
dro- din.
II
[Letter to A. K. C. 14/8/29].
'Lament for the Dead' was written 60 years ago by a pupil of John MacKay
[Angus MacKay's father. He was teaching this man and his son, Angus, at the same
time. The tune is written the same as found in Angus MacKay's Book, and contains
the low A in the Taorluath.
Scale of the Chanter. According to the Violin, it seems to be in G Major, with
high A added. Some ofthe best MacCrimmon tunes seem to be in G Major, and some
in D Major. ['The Lament for the Children has the D in a good deal.]
John Smith taught Simon Fraser Reels and Strathspeys. He used to play this class
of music a good deal in Edinburgh. He was a splendid player. We used to play
together other dance music eg, walzes, Schottisches, Quadrilles, etc. John Dubh
MacCrimmon taught my father in 1816 and 1817.
The low A in the Leamluath, Taorluath, and the Crunluath was taught by John
MacKay [Angus MacKay's father].
The correct accent in the Crunluadh- a Mach,
according to John MacCrimmon and 'Gesto' is-
^m
[Letter 22/10/29]
'The Laird of Anapole'Really this is 'The Lament for Giordano Bruno', who discovered what they call the
Great Secret. The Laird was a great believer in Bruno, and that is why the tune was
called after him. Donald Mhor MacCrimmon composed the tune, the year after Bruno
was put to death.
Page 34
[MS 9624]
The Highland Pipe, its Music and History.
By Simon Fraser in the Colac Herald 12/3/1910
Thor, god of thunder; Odin, god of all goodness.
'Da- ri- tra- di' are vocables taken from the Greek notation of 4 lined music.
'Lament for Samuel' [old name]
'The Stuart's White Banner' [new name]I, him- bo- tra, hie- rie- rie, . hie- rie- rie, hi- a- din,
Him-bo-tra, hie-rie-rie, . hi-a-varla, hi-o-en-in,
Him-bo-tra, hie-rie-rie, . hie-rie-rie, hi-a-din,
Hi- o- en- in, hi- a- ra- din, . hie- ri- rine, hie- ri- rine,
I, him- bo- tra, hie- rie- rie, . hi- a- varla, hi- o- en- in,
Him-bo-tra, hie-rie-rie, . hie-rie-rie, hi-a-din,
Him- bo- tra, hie- drin- hie- vo. hi- a- ra- din- hie- va, hi- o- en- in,
Him- bo- tra, hie- drin- hi- en,. hie- re- rine, hie- re- rine. II
'Lord Lovat's Lament'
Hie-rie-rie, hi-vo hie-rie-rie, dili,
Hi- o- ro- ro, hi- vo hi- o- ro- ro , hi,
Hie-rie-rie, hi-vo hie-rie-rie, dili,
Hie- bi- tri, hie hi- o- diriro, hin- dun, II BIS
Hi- o- ro- ro, hi- vo hi- o- ro- ro, hi,
Dili-o-dro, hi-vo hie-rie-rie, hi-o-din,
Hie-rie-rie, hie-vo hie-bi-tri, dili,
Hie-bi-tri, hie hi-o-diriro, hin-dun,
Hie-rie-rie, hi-vo hie-rie-rie, dili,
Hi- o- ro- ro, hi- vo hi- o- ro- ro , hi,
" HHi ie- -or -eb- ir -i n
t rei ,, dh ri oe - vhai - oh -i nd -i dr ior ,o ,b eh-itnr e
- d, u n . I I
Patric Og says'The pibroch, that we love to hear will soon make room for sheep and deer!
hi- en, hi-en, hi-o-en-in, [Old]
he-in, he-in, he-o-in-un, [New]
botrie [Old], betre [New]
Simon Fraser- History ofthe MacCrimmons 1929- taken from pages 3 and 4 of Neil
MacLeod of Gesto's unpublished Book of 1826.
Page 35
[MSS 1621- Extracts of letters from various correspondents [ including Dr. Charles
Bannatyne, John Grant, and Dr. K. N. Macdonald] to Dr. J. D. Ross watt]
Mr David Glen wrote to me for some tunes, and I sent him Lord Lovat's Lament and
Lament for Samuel. I have just received the printed copies ofthem from Glen. He is
to publish a large book of 100 Pibrochs and to send me a copy when he gets them
from the printers.
The real reason Neil MacLeod was not allowed to publish his first book, was on
account of him giving their true history, and revealing those mysteries; that, of course,
certain people did not like to be made known.
Angus MacKay used mostly the 'ho- da- ti- ri' beat in his Crunluath. This beat, 'hoda- ti- ri' or 'ho- drin- ti- ri', has four syllables and is easier to perform than the 'hoda- tri' method, which has the same number of notes, jw{ only three syllables.
The method of writing the Crunluath beats
conveys no idea of syllables and there is one
note missing in each of these Crunluath beats.
Variations, according to the taste of the performer, may be played a little quicker in
the doublings but not as quick again as the singlings.
W. Bracken- 'Not Understood'
Arnold in his book - 'Shall any gazer see with mental eyes
Or any searcher know by mortal mind
Veil, after veil will lift,
But there must be, veil upon veil behind.
'Prince's Salute''Hi- o dro, hi- ri , hi- an- an- in ha-va ,'etc,
should be- 'I hin , bie-trie, . hi-a o-dro-va,' etc.
[6/2/19] Re-my Book.
The cost of printing it now is [very high], and I have now abandoned the idea of
having [ideas] in the matter just now. My Book is ready if any enthusiast likes to have
it printed.
Re Captain Neil MacLeod of Gesto- Dr. Bannatyne and Lieut. MacLennon have
given separate and independent evidence that he did play the pipes. 'Gesto' died in
1836. 'Gesto' and MacLeod of MacLeod had a terribly long case on for years, which
crippled them both badly. 'Gesto' won his case but lost the money. 'Gesto' claimed
he was from the original stock, and not the Chief. He claimed decent fron Olave, King
of Mann and the Isles. Dr. K. N. MacDonald's mother was a daughter of'Gesto'. He
knew Sandy Bruce , and his son, John, well.
Dr. Watt says- that 'Sh' and 'Ch' were used only with beginners. 'Cherubim', too,
contains syllables used-'He', 'che', 'ru', and 'bim'. It also contains three vowels in
the scale- E, U, and I.
Page 36
Donald Cameron taught Colin Cameron with the middle A in the Taorluath. Thriple
Time- three beats to the bar is perfect, because it is indivisible. Jean de Muris wrote
that it 'had its [origin] from the Blessed Trinity'. The perfect circle 'O' represents the
perfect or triple time, the half circle'C, the imperfect or double. This has survived in
modern notation to indicate four time, which is twice double time. When crossed, the
C means double time.
Some MacArthur Beats'Hi-ri-dri-hi', 'Hi-o-dro-ho', 'Hi-a-dra-ha', 'hi-o-dra- ro-din dro'.
He played 'The Children's Lament differently from any ofthe printed settings.
ALASTAIR RUADH's LETTER 1 Sept 1880' Gesto' told me that the vowels a, e, i, o, u were the roots ofthe syllabic notes.
Thevowel 'i', [if pronounced as in Gaelic and Latin-'ee'], was the root or index ofthe
highest note on the chanter, and is the lowest. 'O' is the next lowest, and then 'a' and
'e' represented the middle notes in the chanter. It was thus the case that such vocables
as 'hi', 'tri', 'ti' represented the high notes and 'ho'and 'hu', the lowest.
These they combined by rules of their own, as 'hi- o', 'hi- a- o', 'hi- u- o', 'hidro- to- ha- chin' 'hi- dro- to- ta- ti- ti', 'hi- dro- to- tu- ta- ti', 'hi- dro- to- tu- tu- ti',
and 'hi- o- dro- to- ha- chin.
I could easily fancy that it would be a very simple matter to fix on syllables, as
vocables, to represent every bar in pipe music, as it is such regular music in its
contruction. Any piper of any knowledge, who can play 'the urlar' ofthe tune, and the
first suibhal, can easily play the 'taobhluth' and the 'crunnluth'.
If you give myself the noting of the first suibhal of any piobaireachd, I could
easily note down all the other variations, should I have never heard, nor seen the
'piob' before. This regularity in pipe music renders it an easy matter to frame
syllables for the 'urlar' and for the first 'suibhal' or variation. If you have that on some
fixed principle, it is easy to add the rest.
Captain Neil MacLeod of Gesto married Flora, daughter of Charles MacKinnon,
younger of Corry, with issue- 6 sons and 6 daughters.
1. John- drowned at sea.
2. Norman- went to Australia.
3. Charles- went to America and married Mrs. Macgillvray in the West Indies. He
afterwards returned toUK. In 1849, he was appointed manager of the Gairloch
estate by their factor, the late Dr. John MacKenzie of Eileanach. He died at
Flowerdale, no issue, in 1851.
4. Kenneth- an Indian Planter, who ultimately became representative of the
family.
5. Donald- who went to America, married Isabella, daughter of Mr. Murray, once
of Grishornish, with issue, a son Neil MacLeod, who is the present male
Page 37
representative ofthe family, and a daughter, Norma, who married the Rev. Adam
MacQueen.
6. Roderick- who died young.
7. Anne- who married Charles MacDonald of Ord, Isle of Skye- a 5th son of Dr.
Alex MacEacharn ofthe MacDonald ofthe Glengarry Fencibler with issue1. Alex R. MacDonald of Ord- married Maria Macdonell of Keppoch.
2. Lachlan Macdonald of skaebost, married Wilhelman, daughter of the late
John MacKenzie of Bengal, with issue.
3. Dr. Keith Macdonald, married Eliza Niblitt, Edinburgh
4. Neil Macdonald, married Madeline- daughter of Rev M. Brown.
5. Charles- retired Indian Planter, Muirter House, Inverness, married Anne
May daughter of Thomas Williamson, Glasgow, with issue.
6. Flora- married Mr. Alex Smith, poet ['A Summer in Skye'], with issue.
7. Isabella- married John Robertson of Greshornish, with issue.
8. Margaret- married Godfrey MacKinnon of North Goonambool, Australia,
with issue
9. Janet-unmarried.
10. May, married Rev. John Macdonald, of Inverness and went to Australia,
with issue, John and Flora.
11. Flora, went to America, with issue, died 1883.
12. Margaret, married Angus Nicholson, merchant in Portree,with 4 sons and 4
daughters
13. Barbara, died young.
Neil MacLeod, who died in 1836, was succeeded as representative ofthe family , by
his 4th son, Kenneth Macleod, an indigo planter in India. He, afterwards, returned
home, took up his residence in the Isle of Skye, and purchased the estate of
Grishornish and Orbost. The name of the ancestral abode of the family, having
disappeared in that of Drynoch, Kenneth determined to commemorate the name of
Gesto hospital at Edinbane, which he built and endowed with 30,000 pounds, for the
benefit ofthe natives ofthe Isle of Skye. He died unmarried in 1869 and left the
estates of Grishornish and Orbost to his grand nephew, born 1864, Kenneth Robertson
Macleod, now of Grishornish. Kenneth was succeeded as representative ofthe family
by his nephew, XI11 Neil Kenneth Macleod, the present 'Mac Mhic Thormoid',
residing in Canada. First he married Miss. Stirling, without issue, then he married
Miss Show with 2 sons.
There is a very eminent line of Gesto Macleods descended from John VI of Gestohis 3rd son, Donald.
'Gesto' and MacLeod of MacLeod , the Chief, had a terrible law case on for years,
which hurt them both badly. 'Gesto' won his case, but lost the money. 'Gesto'
claimed that he was from the Original stock, and not the chief. He claimed descent
from Olave, King of Mann and the Isles.
Page 38
[Dr. K. N. MacDonald- 5/11/13]Giordano Bruno was born at Nola 1550 [about]. He became a Dominican monk,
but his panthiestic views compelled him to leave his monastery, and Italy. He
embraced the doctrine of Calvin at Geneva, but free discussion not being in favour
then, he went to Paris, where he gave lectures on philosophy, where he made bitter
enemies. He spent 2 years in England and became a friend of Sir Philip Sidney. In
1585, he went again to Paris and renewed his public lectures. After visiting several
towns in Germany, he returned to Padua ini592, and went afterwards to Venice,
where he was arrested in 1598 by the Inquisition, and sent to Rome, where he lay in
prison for two years. On the 17th Feburary 1600, he was burned at the stake as a
heretic. His theory of the world was pantheistic. He was well versed in astronomy,
and adopted the view of Copernicus. But he also believed in astrology. He wrote
many works in Latin and Italian, which abound in bold and noble thought, and are
rich in eloquence.
The Cave of Gold- [New MacCrimmon Canntaireachd- S. F]
He- im bo- drie, he- un bo- dro, . he- im bo- drie, bi- tri be- tre,
He- im bo- drie, he- un bo- dro,. he- im be- tre, o- drie diri- din, IIBIS
He- im bi- tri, he- re- in- ve, . he- im bo- dro, he- o- ro- un- vo,
He- im bi- tri, he- re- in- ve, . he- im be- tre, o- drie diri- din. II
He- im bi- tri, he- re- in- ve, . he- im bo- dro, he- o- ro- un- vo,
He- im bo- drie, he- un bo- dro,. he- in be- tre, o- drie diri- din. II
HiHiHiHiHiHi-
The Cave of Gold- [Old MacCrimmon Canntaireachd- S. F.]
en bo- dro, hi- un bo- dro, . hi- en bo- dro, bi- tri bie- trie,
en bo- dro, hi- un bo- dro, . hi- en bie- trie, o- dro dro- din, II BIS
en bi- tri, hie- rie- rie, . hi- en bo- dro, he- o- ro- ro,
en bi- tri, hie- rie- rie, . hi- en bo- trie, o- dro- dro- din,
en bi- tri, hie- rie- rie, . hi- em bo- dro, he- o- ro- ro,
en bo- dro, hi- un bo- dro, . hi- en bie- trie, o- dro- dro- din.
[George Moss- 'o- dro ro- rin']
MacArthur History- from John MacArthur,
Plumber and Gas Fitter
163 Prestwick Road, Ayre
5th April 1930
To A. K. C, John MacArthur wrote' Great Grandfather Archibald MacArthur, the last Heredity Piper to the
Lord ofthe Isles, and who was also piper to the Highland Society Of Edinburgh, and
who, along with the 1st Chairman and President [Chief of Clan Ranald], was
instrumental in forming that society in 1783-4. Archibald died at Salem in Mull about
1843, and was buried in Ulva. He was the son or grandson of Charles, of fame, who
was with Patric Og MacCrimmon. [A John, Iain MacArthur, comes in here but where,
I'm not sure. Archibald had four sons and four daughters. Their names are- John,
Robert, Charles, Ranald, Catherine, Janet, Margaret, [?], and Flora.
Charles died young, unmarried.
Page 39
Robert married Miss MacKinnon and died in Mull, leaving 2 daughters,
Catherine and Janet. Catherine died young, and on her mother's death, Janet was
taken to the lowlands and brought up by my grand father. In latter years, she ran away
to South America, married and died there.
John, the eldest son of Archibald, came south to his young brother, Ranald, and
died during an epidemic of Smallpox. He is buried in Wroughten Church yard in
Lanarkshire.
Margaret, who married a MacQuarrie, also came South to Ranald. At her death,
she was buried in Holytown, Lanarkshire.
Janet married a Mr. Black, ands some of their descendents are still live at
Bunessan.
Catherine went to America about the same time as Seumas MacArthur, [who was
piper to MacDonald of Boisdale, about 1849].
My Grandfather, who was the only male left, was also a great Piobaireachd
Player, and he inherited the family pipes. I am aware that many MacArthurs and
MacQuarries went to Australia and America at the time of great distress and
oppression in the Highlands. Captain John MacArthur, who imported the first sheep to
Australia, and also Australia's greatest curse, the rabbit, was related to our house of
MacArthurs. So, likewise, was General MacQuarrie, the first Governor of Australia,
and who belonged to Ulva.
John MacArthur's uncle had 4-500 Piobaireachd Tunes, which he leant to J.
MacDougall Gillies.'
Dr. Bannatyne wrote to Dr. Watt on 10th June 1912, saying that Simon Fraser is
long in publishing his book. 'I believe I do him an injustice, in part, by doubting his
statements. There is no doubt he has a perfect system of Canntaireachd and his
statements regarding Capt. MacLeod of Gesto. I have discovered from Dr. K. N.
MacDonald, [MacLeod's Grandson] to be correct'.
Donald Og MacCrimmon was born at Innergradden, in Glenelg, Invernessshire, in
March 1790, in the same house which his father first saw the light of day. His
ancestors came from Dunvegan, Skye, in the early years of the 18th century.
'Swordland', at the head of Glennan, was their home until the 1745 rebellion, when it
was burnt down by the King's Troops. The Troops suspected the MacCrimmons to be
Jacobites. Donald MacCrimmon wrote a small history'My mother's maiden name was Anna MacLeod and she was a native of
Dornoch. My Grandfather was a great musician and a piper of note. He sang well. In
1745-6, he was at Moy Hall during its most troublesome days. He used to give me
some interesting incidents of the occurrences then. I emigrated from Greenock in an
old British transport with my parents, three brothers and one sister, Angus, Duncan,
Alexander, and Christine, in 1816, to Halifax. I have been an Elder in the Free
Church, Kirkhill, since the disruption. [Donald Og was one of the Stirling Men of
Lochiel].'
Donald Og married Margaret MacKay of Cate, St. George. He had 8 sons and 3
daughters, and died 10th February 1890. He has descendants at Dalkeith, Saskatoon,
Vankleek hill, Edmonton, Caledonia, Portland Oregon, Rossland B. C, eastern parts
of Ontario, etc.
Page 40
From Simon FraserThe Lost Piobaireachd. - Lament for the Saviour
Hie- v he- chin
Hie-v he- chin
Hie-v he- chin
Hie- v he- chin
Hie-v he- chin
Hie-v he- chin
Hie-v he- chin
Hie- v he- chin
Hie-v he- chin
hie- ve
hie- ve
hie- ve
hie- ve
ho-ve
hie- ve
hie- ve
hie- ve
hie- ve
drie- o,
drie- o,
he- a- o- din,
drie- o,
ho- chin,
drie- o,
he- a- o- din,
drie- o,
he- a- o- din.
nBIS
II
II
Answers to questions sent to Simon Fraser1. Fionnladh a Bhreacan was Findlay Macrae.
2. Pat Og MacCrimmon had a son John, who became a piper to the Earl of
Seaforth and composed 'The Glen is Mine'
3. Mary MacLeod's Lament was composed by Patric Og after she died.
4. John MacMillan was Simon Fraser's wife's Father and was a piper of
note.
5. Mr. Kenneth Stewart was a friend of Peter Bruce. He died in New South
Wales many years ago. He was also taught by Gesto, and was considered
by Peter Bruce to be one of his [Gesto's] best pupils.
MacLeods of Gesto1. LEOD- 5m representative of the Royal Line of the Norwegian Kings of Mann,
married MacRauld Armunn- [a daughter of] this Danish Knight.
2. Tormoid MacLeod married Finguala MacCratan [Spelling is suspect]
3. Malcolm MacLeod of Glenelg and Harris married Martha, daughter of Donald,
Earl of Mann., nephew of Robert the Bruce, and had three sons- John, Tormod,
and Murdo, who was the ancestor of the Macleods of Gesto-Mac Mhic
Thormoid.
The Gesto lands extended on one side from a place called 'heabaidh an Tuirc' and
' Allt Coire Uisg', in Drynoch, to the water of Scallisaig in Struan, on the other side.
They lost their lands during the reign of Sir Rory Mor of Dunvegan as John VI
murdered his brother in law, MacCaskill of Ebost. Rory Mor's wife was John of
Gesto's aunt
John MacLeod of Gesto X, was a Major in the Gordon's regiment, and married
Annabel la, daughter of Neil MacKinnon of Boreraig, Strath, son of Lachlan
Mackinnon of Corry, Isle of Skye. Their children were-1. Neil of Gesto, 2. A son who
served in the Royal Artilliary, attained the rank of General, and afterwards resided
and died at Woolick. 3 . Flora, who married Captain William MacLeod VI of Hamer,
with issue.
Page 41
Neil MacLeod was a Captain in the army, and the last ofthe family to occupy the
house and lands of Gesto. For many years he was engaged in a law suit with the
Chief, John Norman MacLeodXXI of Dunvegan, regarding the boundaries of the
farm, which he ultimately won. In consequence of this, and his independent spirit
generally, MacLeod determined to get rid of him on the termination of the lease,
which expired in 1825, when the farm of Gesto was joined to that of Drynoch, and
ever since, disappeared as a separate residence. Captain Neil MacLeod was a great
authority on pipe music, and although he could not play the bagpipes himself [see
Simon Fraser's Comments], he knew almost all the 'piobs' ever composed as well as
their original history. In 1828 he published a small book containing 20 piobs to
illustrate the MacCrimmon system of pipe musical notation, known as
'Canntaireachd'. This curious book is now very rare, but there is a copy of it in the
library of the Geaelic Society of Inverness, presented by the late Rev. Alex
MacGregor, himself an excellent piper and personally acquainted for many years with
the author of the book. Curiously enough, it was only in 1880, that the late J. F.
Campbell of Islay, came to know for the first time about the MacCrimmon Notation
and Gesto's Book. Though the Rev. Mr. NacGregor had delivered a paper in which he
gave specimens from it 8 years before, on 24th October 1872, before the Gaelic
Society of Inverness. This paper was afterwards published in the Society's
Transactions for that year.
[Continuing Alasdair Ruadh's LetterJAfter loosing his farm, he resided with his wife and daughters in the village of
Stein. He amused himself in the Advocates Library searching out after old books,
writing letters and attending to law papers, for he was at law with his proprietor,
MacLeod of MacLeod, for many years about the boundaries of Gesto.
S. F. wrote in the Oban Times, [12th Feb. 1908]-He was Pipe Major of the
Warrnambool Pipe Band, then- 'My Father was well acquainted with A. Munro, who
Composed 'Glengarrys Lament'. Munro taught the tune in a day or two to the other
pipers, who played it at MacDonnelFs funeral'
[27th July 1909]- 'When I was a boy, I heard a Gaelic Hymn sung to the 'Urlar',
which referred to the mention of pipes in the Book of Revelation XVIII, verse 22.'.
[ This is a reference to 'The Stewart's White Banner'.]
'The Comely Tune'This tune was used by the MacCrimmons for teaching the Triple beats on the pipe
and no piper was considered perfect unless he could perform the 'hir- irine' beat
properly, without drawing his little finger across the chanter, as is usually done. It was
also called the 'Ludaig' or 'Little Finger Tune' on account of this. Peter Bruce played
this tune splendidly and taught how to use the little finger both ways with the practice
ofthe tune. In MacLeod's Book of Canntaireachd, three lines, all through the Comely
Tune, are missing. This is the reason, I presume, that it has not been translated
correctly in ordinary notation.
Page 42
[9th October 1909- Oban Times].
Re- the MacCrimmon Diploma from the College of Piping. It had on it a picture of
Dunvegan Castle, a galley of the MacLeods, various musical instruments, a seat, and
the name ofthe holder, with dates of entrance and departure from the College.
[26th July 1919]Italian Solfeggi was studied by Patric Mhor in Italy for two years about the middle of
the 17th Century.
My Father migrated to Australia in 1828.
[Letter from Dr. K. N. MacDonald- 6th July 1912]Gesto had a fine ear for music and could not bear a false note. He could tune the
pipes better than his piper, and taught his own four sons and two others as well.
One daughter, Jessie MacLeod, was a splendid player of pipe music, and the best in
Skye. Miss Mary MacEwan was a great grand daughter of Gesto. She lived with her,
and visited her on Caroline Hill [Skeabost Estate, Skye]. Gesto did keep a piper. He
was an elderly man who played at their dinner parties. He was taught by Gesto.
[Letter from Simon Fraser, 59 Moonee Street Ascot Vale, Melbourne, 15th October
1912].
Gesto was related to my Father's Mother. He took a great fancy to my Father,
when a boy. They were close personal friends up to the time of my Father leaving for
Australia in the year 1828.
In the year 1816, Gesto introduced my father to John Dubh MacCrimmon, with the
view of getting him to learn the pipes, as my Father was passionately fond of
Piobaireachd. My fatherdid not persevere with the pipes, but he learned a great many
tunes in Sheanntaireachd, which is the original way. It is not in any Gaelic Dictionary.
I enclose a copy of the urlar of the last tune that Gesto and John Dubh taught my
father. Gesto was a splendid piper and excellent in heavy tunes such as the 'Glass
Mheur', 'Sir William Wallace's Lament', 'Cumha na Cloinne', etc.
He was also a fine strathspey and reel player on the violin. He was splendid in such
tunes as 'The Marquis of Huntly', 'Farewell', 'Miss Lyle', and 'Stirling Castle'. He
was taught by one of the Gows. He often played with 'Knockie', as they called
Captain Simon Fraser. I have heard my father often speak of a great night that he had
with Gesto, Knockie, and John Bane MacKenzie. Gesto and John Bane played the
pipes, singly then together. Then Knockie and Gesto played the violin. 'Talk about
music' my father used to say, 'I never heard the like of it before or since'.
My father was a good scholar and could write a beautiful hand. Consequently, he
used to assist Gesto in writing the tunes in Sheanntaireachd.
My father was born in July 1796, as the same day as Burns, the poet, died. He was
proud of this. Gesto taught Sandy Bruce the pipes, and also gave his son, Peter,
lessons. It was Gesto who taught Peter the 'Glass Mheur', or 'Finger Lock'. This was
the first tune Peter Bruce taught myself. It was Malcolm Bruce [Peter's Brother], I
think, that was piper to Sir Walter Scott.
Page 43
[Oban Times.5th April 1913]
The Early History Of The MacCrimmons, related by themselves to Captain MacLeod
of Gesto. Written by Dr. K. N. MacDonaldIt appears that in 1826, the late Captain Neil MacLeod of Gesto wrote a history
of the MacCrimmons or McCrummens, embracing a great many tunes in the
MacCrimmon system of notation, together with the histories of their origin and
composition, in which he was assisted by Simon Fraser's Father. Simon Fraser's
Father was a very clear and beautiful writer, and was therefore, a living witness ofthe
following narrative, as supplied by the MacCrimmons. The book was not published
for the reasons which shall appear presently, but as a substitute, a book of 1828,
which we have now got, was brought out.
Giordano Bruno, an Italian Philosopher and Pantheist, one of the boldest and
most original thinkers of the age, was born at Nola, about 1550. He became a
Dominican Monk, but his religious doubts and censures of the monastic orders,
compelled him to quit his monastery and Italy. He embraced the doctrines of Calvin at
Geneva, but free discussion not being in favour then, he went to Paris. Here he gave
lectures on philosophy, where he made many bitter enemies. He spent two years in
England, and became a friend of Sir Philip Sidney. In 1585, he went again to Paris
and renewed his public lectures. After visiting several towns in Germany, he returned
to Padua ini 592, and went afterwards to Venice. In Venice, he was arrested in 1598,
by the Inquisition, and sent to Rome, where he lay in prison for two years. Then in
17th February 1600, he was burned at the stake as a heretic. His theory ofthe world
was Pantheistic. He was well versed in Astronomy, and he adopted the views of
Copernicus. But he was also a believer in Astrology. He wrote many works in Latin
and Italian, which abound in bold and noble thought and are rich in eloquence.
A relation of his, Petrus Bruno, about or before this time, left Cremona, in Italy,
and went over to Ireland and settled there. He had to leave on account of his religious
opinions. He did not believe in pantheism, which identifies the Universe with God,
but he believed strongly in Primitive Christianity. He got access to some original
documents, which, to his mind, proved that the Bible had been tampered with about
the beginning of the 2nd Century. Therefore he held that creeds have nothing to do
with the True Teachings of Christ.
[K. N. McD- O. T. 10/11/ 1912]Gesto, in his will, describes himself, 'Captain, on half pay, with rank in the Army, of
Gesto Place, in the village of Stein, consisting of several houses, on a certain extent of
land, as by charter obtained by me from the British Society for extending fisheries and
improving the sea coasts of Scotland, dated London 28th June !827'.
Gesto was a poet- the poem, 'Farewell to Skye' is attributed to him.
[Lachlan Bruce O. T. 18th December ].Lachlan Bruce was a nephew of Sandy Bruce, who was taught by Gesto. Sandy
Bruce was considered one ofthe best pipers in the Highlands in his time. It is said that
he beat John Dubh MacCrimmon at Kyleakin. My father used to say that it was Gesto
who taught his brother, Sandy Bruce, and that Gesto was a splendid piper himself.
Page 44
[Dr. K. N. MacD. O. T. 6th May 1913]The Breabach is a kicking movement.
Gesto's BookIn 1880, Mr. Duncan Ross, piper to the Duke of Argyll, 'who learned
tunes orally in Rosshire from the chanting of John MacKenzie [John MacKenzie was
Lord Breadalbane's piper and a pupil ofthe Skye School] read the book of 1828, and
played the 20 tunes in it from sight.
[ Simon Fraser- O. T. 3/ 2/1914] If Mr. Grant will look over MacLeod's Book of 1828, he will not find 'drun' or
'trun' in any other tune. He will find the letters 'RUNO' in other tunes, but not 'run,
the three central letters of'Bruno'
'War or Peace'- a version taught to my Great Grandfather by Peter Og
MacCrimmon.
[Simon Fraser- O. T. 1/ 8/1914]In a letter from Gesto to my father in Australia, dated 7th Dec. 1828, he [Gesto],
says, 'I have not played the pipes since you left, owing to my lung and throat trouble,
but I still play the violin to amuse myself
[Lachlan Bruce O. T. 3/ 3/15]Gesto taught Alexander Bruce to play piobaireachd, and he himself and John Dubh
MacCrimmon played at Kyleakin, along with others, and Alex Bruce gained lsl Prize.
Now anyone would think that it was the same notation both pipers played at that time.
No one will doubt that it was the MacCrimmon notation that John Dubh played. Alex
Bruce carried all before him in his day. It is said that he was the best piper that ever
Gesto taught. Peter Bruce was taught partly by his father, and partly by Gesto, and we
are told that he carried all before him in Australia.
Now, if Gesto was entirely ignorant of what he wrote down, as Mr. Grant says, how
could his pupils be such able players? We are also told that Peter Bruce taught Simon
Fraser to play the pipes. Any sensible man would believe he would teach Simon
Fraser what he was taught himself. We must conclude that Mr. Fraser is one of the
few that can play the MacCrimmon Solfa Notation.
Mr. MacKenzie, the Clan Historian, tells us that Gesto was an authority on
piobaireachd. If we do not believe an authority on any subject, what are we to
believe?
Dr. Keith Norman MacDonald, who stood pre-eminent as an authority upon all
questions pertaining to Highland Music and Highland History, supported Simon
Fraser.
Mr. L. Bruce bears out fully all that Mr. Simon Fraser and Dr. MacDonald had to
say about the genuineness ofthe Gesto Collection of Canntaireachd .,
Page 45
[Arch. M. MacDonald, Alexandra Ave. Geelong, Victoria, 23/ 1115]Mr. Fraser is a most versatile man. He is an exquisite performer on the violin. He is
the best strathspey player I have heard, and further, he makes violins. As a whip
maker, he has no equal in the Commonwealth of Australia. When the present King
George V and the Queen were out here some years ago, they were presented with a
stock whip, made by Mr. Fraser, and so was the late Sir Hector MacDonald. In his
young days Fraser was the most fearless and capable steeplechase rider in the state.
[Simon Fraser, 2/8/ 15]Mr. Duncan MacDonald, Boardland House, Dunlop, Ayreshire, Scotland, knew an
old man, named Alexander Macaskill, who was a foreman in Captain Neil MacLeod's
employment. I often heard him say repeatedly that Gesto could play both the pipes
and the violin. And that he often heard him play and teach a number of others to play
them.
[W. C.F.-O.T. 18/10/1915]Mrs. Captain Macdonald of Rodil, Harris, was considered one of the most
celebrated players of Highland Music on the pianoforte, of her day. And that she often
played old Gesto's accompaniment, when he played the violin, and very particular he
was too, especially as to time. There were very few that would accompany him, and
,if, by chance, he got a bad accompanist, woe betide the lady. The old gentleman was
not very choice in his language, when angered. I have often heard my father say that
Gesto had a large academy for pipers, and many a good piper he trained.
[Allan MacDonald]Alexander Munro [1745-6] was Prince Charles' piper, and his print in Fowles
Castle shows him playing with two drones.
The fact of teachers of bagpipe music in Skye in bygone days, making use of pins
stuck in the ground, instead of marks, for musical notes, is pretty strong evidence
against the alleged MacCrimmon notation been committed to writing by them by their
former pipers. I have heard my Uncle, the late Capt. Allan MacDonald of Waterenish,
repeat Gesto's notation, which, I think, he said was invented by Gesto himself.
The last ofthe MacCrimmon pipers, in the service ofthe MacLeod family, seems to
have been Donald MacCrimmon- in the Estate Rental Book of 1769.
[Myles Mclnnes, South Africa Infantry, Killindine, British S. A. 22/ 4/ 16]Sir- If Gesto could play, no one ever heard him play—At that time the ORD family
[grandsons of Gesto] came home from India [early seventies, to Drinfern, Sleat] Mr.
Neil Macdonald of Dunach, Oban, sent Ronald MacKenzie, a young lad, to
MacLennan of Inverness to be taught. Malcolm MacLean said-'It is a pity that a
Skyeman should need to go to Inverness to learn, when there are so many yet who
could teach him in the Gesto Canntaireachd. Bean Dhomnuel Mhic Iain Bhan [?], she
Page 46
could teach him as well as Gesto. Gesto never taught a better piper than Alexander,
her brother, and she has every tune he had, before he went abroad.
Gesto never played himself but gave them lessons in Canntaireachd. Neil Maclnnes
was often at Gesto's, and knew all about the pupils and confirmed this story.
In 1881, in Portree at Sligachan, Myles Maclnnes met some Bracadale men, who
had the Gesto Canntaireachd, like Bean Dh. Mhic I Bhan, especially John MacAskill,
Rhuandurain, who could not play but he had learnt the words used by Gesto in
instructing his pupils. He called- 'hribad is bogaill is togall'. I tried those on the
chanter, and could exactly take out what Gesto meant.
John MacAskill had a name in rhyme for every finger on the chanter.
One of his [Gesto's] phrases in instructing a beginner was- 'Thoir gribag air a
mhear's hogadh air an ludaig, togail air a choraig 's huile chruaidh air mathair na
ludaig, is ni u " Ho dro Ho"'.
Gesto taught men the pipes. Pupils came from all parts of the Highlands, giving
service for tuition. I personally think that the men who gathered there learned more
from each other than from Gesto. It was their belief that Gesto had the manuscript of
the MacCrimmons, and no one had the knowledge but him.
[C. Bannatyne 4/8/17]The Rev. Patrick Macdonald, minister of Kilmuir, Published his brother, Joseph's
Treatise on Bagpipe playing in 1803.
[C. Bannatyne- 15/9/1919]It may be postulated that the present day method is that of the Mackay's, coming
down through Angus Mackay and the Camerons, but where it originated, none can
tell. It is easier and not so fine as the methods of MacArthur, D. MacDonald, and Mr.
Johnston, whose style closely resembles that of their master, Donald MacDonald, a
Skyeman. He was taught by Angus MacArthur, who was taught by his uncle Charles
MacArthur, who, in turn, had been taught by Patrick Og MacCrimmon. Angus
MacArthur and Donald MacDonald's method of piobaireachd playing, also Mr.
Johnston's is the true MacCrimmon method. While, that ofthe Mackay's is, well, that
ofthe Mackay's
[ConnDanly, 13/10/19]The MacMasters were pipers to the MacLeans. Duncan MacMaster held the
position at the beginning ofthe 19th Century. He was taught by John MacCrimmon of
Skye, and was a celebrated performer. The writer saw recently some music belonging
to him, also a copy of a work called 'On the Theory, Principle and Practice of the
Great Highland Bagpipe Music', won by MacMaster in 1805.
Page 47
[John Johnston, 10/ 11/ 19. O. T. ]
The two principle pipers, I mentioned, were MacCrimmon and MacMaster.
MacMaster was one ofthe very best performers in Scotland, and played often with the
MacCrimmon of his day, Donald Ruadh, when he visited Dunvegan with the Chief of
Coll, who had him as his piper. MacMaster finished his piping education in the
MacCrimmon College. Anyone who learned from the great pipers used to play
exactly the same. In 1805, Duncan MacMaster of Coll won the Highland Society of
London's gold medal for the best piobaireachd player.
[Lochgorm, O. To. 29/11/1919]Professor MacArthur is referred to as a nephew of the MacCrimmons, who also
received his teaching under the MacCrimmons. He competed at a competition in
Edinburgh in 1783, and he performed with great ability. There is no dispute, he was
the winner ofthe first 'pryze', which was a set of bagpipes, and the leading pipers,
who were present, subscribed a handsome testimonial to his merit.
The last of the hereditary pipers to the MacDonalds of the Isles, is mentioned as
Charles MacArthur, who, afterwards became piper to the Highland Society of
London, and who has left beautiful pieces of piobaireachd behind him of considerable
merit.
Archibald MacArthur of Mull, was acknowledged to have great skill in playing of
Ceol Mor, having been taught by a MacCrimmon about the year 1808. He competed
in Edinburgh, but failing to carry off the first prize, he refused to accept second. His
opponent was a Maclean [Allan of Mull], who won first prize. He was supposed to be
on equal terms, as a player, with any ofthe MacArthurs.
Allan Maclean won the Highland Society of London's Gold Medal in 1810.
[ O. T. Rob. MacGregor 8/ 12/19]
' Macintosh of Borlum's Salute—Failte Fir Bhorlum'
Hi- ha- o- tro, ho- em hi- hi- a- o- tro, hin- em,
Hi- en- di- rie, hi- ha- rodin . hi- ha- o- tro , ho- em,
Hi- en- di-rie , hi- ha- rodin
hi- ho- in- do, hin- em,
Hi- en- di- rie, hi- ha- rodin
hi- ha- o- tro, ho- em,
Hi- ho- in- do, hin- en
hi- ha- o- tro, ho- em,
Hi- en- di- rie, hi- ha- rodin
hi- ha- o- tro, ho- em,
Hi- en- di- rie, hi- ha- rodin
hi- ho- in- do, hin- em,
Hi- o- tro, hi- ha- rodin
hi- ha- o- tro, hin- em. II
C. B. wrote- 'The Brolum is 'A Chroacharach' in A. Mackay's MSS.
[8/ 12/ 19]John MacArthur [Professor MacArthur], was a grocer in Edinburgh, and was a
nephew of C. MacArthur. Charles was trained by Patrick Og MacCrimmon, and was
the hero, with MacCrimmon, of Sir Alexander Macdonald of the Isles, when they
attempted to cheat John Dall Mackay by getting MacArthur to play to compare with
Patrick Og. Malcolm MacCrimmon sent his son, Donald Ruadh, to Charles
MacArthur for six months to study his particular graces. Donald Ruadh was a Captain
in the Army and never was a piper to the MacLeods
Page 48
The last of the MacArthurs, who was hereditary piper to the MacDonalds, was
Angus, another nephew of Charles. He left behind a MSS of 30 piobaireachds
CharlesMacArthur had some different beats- 'hi-ri- dri- hi', 'hi- o- dr- ho', 'hi- adra- ha', 'hi- dra- ro- din- dro', and others. He played 'The Children's Lament
different from any ofthe printed setts.
The last of the MacArthurs, who was hereditary piper to the MacDonalds, was
Angus, another nephew of Charles. He left behind him a MSS of 30 piobaireachds.
Donald MacDonald was a MacArthur pupil [see the high cadence]. John MacGregor,
in 1806 in Edinburgh, beat John MacArthur, for second place. And John MacArthur
refused this. The prize went to Allan MacLean of Mull. MacLean got first in
Edinburgh in 1810.
[C. B. 22/12/ 1919]The method and settings left by Angus MacArthur are finer than the fine method and
settings handed down by Angus Mackay.
[A. K. C. 24/8/1938]' Finlay ofthe White Plaid' was Finlay Dubh MacRae. He composed 'The Earl of
Seaforth's Salute'.
Patric Og had 6 children- 5 livedMalcolm and a daughter by the first wife,
John, Donald Bane, and Farquhar by the second wife.
Malcolm succeeded at Boreraig, Peter MacCrimmon at Struan was that other
brother.
[A. K. C. 6/ 8/ 32]John Mackay invented the 'Siubhal Ordaig, [thumb variation]- senseless!
Old harpers struck the chords downwards, not upwards.
Many tunes were shorter originally, but were lengthened for competition purposes,See- DonaldBalloch [D. McD.]
Isabel Nickay [Gesto]
Padruig Og's Lament [D. McD.]- [Iuludh variation]
Old Woman's Lullaby [W. Ross].
Simon Fraser PapersThe missing letter of Gesto's Book is the letter 'S'. We find them all in 'The Lament
for the Children'.
Donald Mhor MacCrimmon was the composer of the pipe language, which was
taken from the words 'Christ will be our Saviour if we follow His Teachings'. All the
letters ofthe Great Name are found in the word 'Sheanntaireachd', and are found in
all pibrochs, when written in the pipe language.
Page 49
The Bells of Perthhi- en- do,
dro- dro
Hi- en- do,
dra- diriro
Hi- en- do,
dra- diriro
Hi- en- do,
dra- diriro
Hi- en- do,
dro- drin
Hi- en- do,
dra- diriro
Hi- en- do,
dra- diriro
Hi- en- bie- trie, dra- diriro
hi- en- do,
hie- trie diriro,
bie- trie diriro,
bie- trie diriro,
hi- en- do,
bie- trie diriro,
bie- trie diriro,
bie- trie diriro,
dro- drin,
dra- diriro,
hi- en- drin. II
dra- diriro,
dra- diriro,
hi- en- drin. II
dra- diriro,
hi- en- drin. n
Patric Og- [Old Style]Hi- en bo- dro,
Hie- bi- tru,
Hi- en bo- dro,
Hie- bi- tru,
Hi- em bo- dro,
Hi- en bie- tru,
Hi- en bie- tru,
Hie- bi-tru,
hi- em bo- dro
he- a bie- trie
hi- em bo- dro
hie- a bie- trie
hie- re- rie
hie- bi- tru
hie- bi- tru
hi- a- bie- tru
hi- en bie- tru,
hun bo- dro,
hi- en bie- tru,
he- em bo- dra,
hi- en bo- dro,
hie- re- rie,
hi- a- virla,
hi- en bo- dro
hu- ru- ru,
hie- rerine
hu- ru- ru,
hi- ororo,
hi- virla,
hie- re- rie,
hi- a- virla,
hie- rerine.
II
n
Patric Og- [New Style]He- un- o- dro,
He- be- tru,
he- in- o- dro,
he- a- be- tre,
he- un- be- tru,
he- un- o- dro,
hu- ru- ru,
he- iririne. [etc].
In MacLeod's Book there are lines missing in tunes 1, 4, 5, 6, 15, and 17.
There is one line too many in tune No. 13.
I hi- o diriro,
Hi- o dro,
Hi- o- hie,
Hi- bie- trie,
Hi- o- diriro,
Hi- o- tro,
ho- din,
hi- a- din,
hi- be- tre,
hi- o- din,
hi- o- din,
hi- o- dro- din,
hi- o ho,
hi- o dro,
hi- o diriro, hi- o- din,
hi- o- dro,
hi- o- dro- din,
hi- o- dro,
hi- a- din,
hi- o- hu,
hi- bie- trie,
hi- o- dro, hi- a- din.
n
The 'hi- en' beat is not in The Great Spree.
Page 50
The Cave Of GoldHiHiHiHi-
en,
en,
en,
en,
bobobobie-
dro,
dro,
dro,
trie- o,
hi- en, bo- dro,
hie- rie- rie,
hi- en, bo- dro,
dro- dro- din. II
Peter Bruce's Style of Isabel NickayI hin- bie- trie, hie- a- bo- dro- va,
Hi-en [di—u?], o-chin-to, hie-a-chin.
Beats'drun, din, dro, drie, din, die, din,du, di, dru,hun- un, hin- din, ho- dro, hie- drie,
ha- dra, he- du, hi- du, hu- du, de- dree,he- die, he- dru- he- dru, ha- dra, he- tre,hi- tri,
o- din, od- din[accent on low G], 'hin- be- tre, hin- be- tri, hin- be- tru, hin- betree,he- a- rin, he- rie- rin, he- o- rin, ho- in- hun, ve- vi- tri, thor- o- din, hie- die- din,
ho- ro- din
Patric Mhor's Vocables from MacCrimmon SheanntaireachdBe- tre diriro, dra- diriro, hie- diriro, drie- diri- din, he- un- ha- ro- din,
dra- rie- ro- rin, he- a- diriro, hun- ta- rie- to, hie- ie- diriro,
he- o- diriro, he- o- dra- ro- rin, he- o- drie- ro- rin, he- diri- hu, vee- diri- hu,
hu- diri- hu, hu- ve- diri- vee,
hun- un- un, hun- in- in, hun- hin- tre, hu- hun- tre, he- o- in- hun,
ha-drun-un [T], ho-dro-ho [T a mach], ho-drun-tre [C], ho-dro-tre [C mach].
Note that the Crunluath should never be on low G except in the Mach.
MoragI ha ra-din, tra
Ho ra- din, tro
Hi- ri- rine, to
Hi- o ra- din, tro
Hi- o tro- chin, tro
Ha- ra- din, tra
Ho- o- hin, tra
Ho- botra- chin, tro
Hi- botra, botrie
Hie- botri, hie- a
Ha- botrie, hi
B o t r i , h i e - a ho
hi-o, tro ra-din,
hi- o, tro- ra- din,
hi- en, hin- tro,
hi- o, tro ra- din, BIS II
hi- o, tro- o- chin,
hi-o, tro ra-din,
hi- o, ra- din- tro,
hi- o, tro- ra- din,
ha- bitrie, hi,
hi-o, tro ra-din,
hie- botri, hie,
hi-o, tro a-hin[?]. II
Page 51
Gesto's GatheringHie- ru- rine,
Hie- ru- rine,
Hie- ru- rine,
Hie- ru- rine,
Hi- o- diriro,
Hi- o- diriro,
Hie- ru- rine,
Hie- ru- rine,
ho- diriro
ho- diriro
ho- diriro
ho- diriro
hi- o- dro- din
hi- o- dro- din
ho- diriro
ho- diriro
hie- ru- rine,
hi- en hin- e,
hie- ru- rine,
hie- ru- rine,
Hi- en- hin- e,
Hi- en- hin- e,
hie- ru- rine,
hi- en- hin- e ,
hi- o- dro- din,
hi- o- din,
hi- o- dro- din,
hi- o- din,
hi- o- dro,
hi- o- din,
hi- o- dro- din,
hi- o- din.
MacKinnon's Lament, by Charles MacArthurI hi- en bie- trie, hi- o- dra
Hi- o- dra,
hi- en- bietrie
Hi- en- bietrie, hi- o- dra
Hi- o- dra,
hi- en- bietrie
Hi- o- dra,
hi- en- bietrie
Hi- en- bietrie, hi- o- dra
Hi- o- dra,
hi- en- bietrie
Hi- en- hin, hi- o- en- in
hi- en o- dro, hi- a- ra- din,
hi- en- hin,
hi- o- en- in,
hi- en- o- dro, hi- a- ra- din,
hi- ororo,
hi- ororo,
hi- en- hin,
hi- o- en- in,
hi- en- o- dro, hi- a- ra- din,
hi- ororo,
hi- ororo,
hie- ririne, hie- ririne.
Gesto's Lament [?], written by Dr. J. D. Ross Watt, May 1916He- a- im- bo- tra- o, u- ve- tru
Hi- a- im- bo- tra- o, u- ve- tru
Hun- dun- ho- dro,
he- a- varla
Hun- dun- ho- dro,
he- a- varla
Hun- dun- ho- dro. He- a- varla
He- a- im- bo- tra- o, u- ve- tru
he- in- ho- din, he- in- drin,
he- in- ho- din, he- a- o- in- hun, BISII
he- in- ho- din, he- in- drin,
he- in- ho- din, he- a- o- in- hun,
he- in- ho- din, he- in- drin,
he- in- ho- din, he- a- o- in- hun.
II
Grattan Flood- [taken from Simon Fraser's hand]During the 16th Century, clan pipers were a fixed arrangement in the retinue of
the great chiefs. This idea was [derived?] from Ireland, and it is a remarkable fact that
the [position?] was mainly hereditary, as was the case of the Irish pipers. More
remarkable still, the most celebrated ofthe hereditary pipers were the MacCrimmons,
who were attached to the family of MacLeods of Dunvegan. From about the year
1600, when Donald MacCrimmon, a distinguished piper, came to Dunvegan, the
MacCrimmons continued hereditary pipers to the MacLeods until the death of Donald
MacCrimmon in 1745. From a fancied resemblance to Cremona, some Scotch writers
absurdly suppose that Donald MacCrimmon came from Cremona. As a matter of fact,
Donald's grandson, Donald Mor, was sent to Ireland to learn the pipes, This is
admitted by all authorities, this was about the year 1635. I may add that the Irish
MacCrimmon families are still well represented, but the name variously appears asCremen, Cremmen, and Crimmins. [Page 135].
Pa°e
*s 52
In the second half of the 17th Century, a college for training pipers was established by
the MacCrimmons in Skye. Certainly it was in existance in 1690. The college at Skye
was the most celebrated in the highlands and it was the hallmark of a piper to have
been educated there. A seven year course, as was given in the Irish Schools, was
invariably prescribed, and it must.be borne in mind that the bagpipes were, at that
time, only taught by pattern playing and chanting forth the air in the language peculiar
to the hereditary pipers. Dalzell, in his musical memoirs, gives a good account ofthe
oral methods of teaching the pipes in Skye, in the 18th Century, first deciphered by
Captain MacLeod of Gesto. He calls it a syllabic jargon, and certainly to the initiated,
the combination of certain syllables [recited?] in a monotone, would not seem to
convey a definite idea of fixed sounds forming a melody. However, the system must
have been successful, that the syllablic jargon may be regarded as a primitive form of
tonic solfa, in oral form. The MacArthurs were originally pupils of the
MacCrimmons, and they opened a College for pipers at Ulva, in Mull, in the opening
years ofthe 18th Century.
Charles MacArthur was a famous performer, but he, too, like his forebears, went to
finish his pipe studies at Dunvegan, under the MacCrimmons.
S. F.- This is what Grattan Flood says in reference to the MacCrimmons.
Neil MacLeod of Gesto, in his unpublished Book, gives the following account on
pages 3, and 4,Petrus Bruno, [son of Guiseppe Bruno, Clergyman], was born in Cremona,
Italy, about 1475. He went over to Ulster in Ireland in the year 1510. He took the
name of Petrus Cremon, but many in Ulster, having 'Mac' to their surname, Petrus
Bruno adopted the name of Patrick Cremon. His sons, John and Patrick, were
excellent pipers. John married a Miss MacKinnon from Skye, whom he met in Ulster.
She wanted to change his name to MacKinnon, but he compromised, altering
MacCremon to MacCrimmon. John, and his son, Donald, went over to Dunvegan,
Skye, with one ofthe MacLeods in 1548.
Donald, sometime afterwards, returned to Ulster, to finish his studies under his
Uncle Patrick, who had a college of piping there. He succeeded and, he, in turn, was
succeeded by Patrick Mor, who was the greatest of all ofthe MacCrimmons, as piper,
scholar, and philosopher. Patrick Mor improved the Sheanntaireachd, or Pipers
Lanmiase which Petrus Bruno invented. The first lament he composed was the one
for King Brian.
The Stewart's White Banner- from Simon Fraser, but printed in the O. T. by
Charles Bannatyne M. B., C. M.
Che-o dra, he-re-re . he-re-re, he-vo-chin,
Che- o dra, he- re- re, . che- a- varla, che- o- vin- dun,
Che-o dra, he-re-re, he-re-re, he-vo-chin,
Che- a- hin- dun, che- a- do- din che- a- hin- din, che- a- hun- dun,
Che- o- dra, he- re- re, che- a- varla, che- o- hin- dun,
Che-o-dea, he-re-re, he-re-re, he-vo-chin,
Che- o- dra, he- drin- ve- o, che- a- drin- ve- a, che- o- hin- dun,
He- iririn, he- iririn.
Page 53
[Simon Fraser- 1/8/ 14, from 6 Verner Street Geelong, Victoria]In a letter from Gesto to my father in Australia, dated 11 12/ 1828, he says-' I have
not played the pipes since you left, owing to my throat trouble, but I still play the
Violin to amuse myself Gesto was a splendid player. Three of his pupils, to my own
personal knowledge, came to Australia and died there. They were Norman MacLeod
[Gesto's son], Kenneth Stewart, and Peter Bruce, who taught myself to play the pipes.
All these men could play 'Ho- da- tri', 'Ho- da- tiri' and 'Hio- dra- ta- ta- te- riri'
beats. As I can do the same, and also play or translate any beat in Gesto's books. I can
see no harm in saying that I have a better knowledge of piobaireachd than those who
cannot do so [that is Mr. John Grant].
[S. F. Oban Times 4/ 7/ 1914, 6 Verner Street Geelong]Respecting the tune 'War or Peace', I have Angus Mackay's and other versions of it
in ordinary notation, but they only contain the 'Ho- da- ti- ri' form ofthe crunluath,
with it's singling, doubling, and trebling.
The 'Ho- da- tri' and the 'Hio- da- ta- ta- te- riri' do not appear in any ordinary
notation, that I have seen. I am just about finishing a book of tunes, which I hope to
have out before the end of the year, and I am putting in, besides other tunes [not
published hitherto] the version of 'War or Peace' as taught to my great- grandfather
by Patric Og MacCrimmon. In this book I will deal with the various forms of
crunluath in ordinary notation, so that Mr. Grant and others will see that there are
different forms of those beats which have not appeared before in ordinary notation.
[S. F. Oban Times 23/11/29, 17 George Street E. Melbourne]I have been requested by some pipers to answer the question- 'Did John
MacCrimmon use the low A in the Taorluath and the Crunluath, as written by D.
MacDonald, A. Mackay and other writers of Piobaireachd?'
Most certainly he did. I knew this beyond any doubt. Those pipers who do not play
the low A have not been properly taught, and it is a great pity that they are trying to
lead other pipers astray. Had D. MacDonald written the MacCrimmon notation under
the ordinary notes the trouble would have not arisen. My father was present when
several persons advised him to do this, but he would not do so. Gesto, his son
Norman, Alex Bruce, and his three sons all played the low A, and so did Donald
Cameron and his sons.
Pa«e
lo 54
The Bruces ofGlenelg.
Several letters to the Oban Times, written on 'Some Famous Pipers,
contemporaries of John MacCrimmon, by Dr. Keith N. MacDonald, Ord,
Skye.
[11th January 1913]John Bruce was the only son of Sandy Bruce whom I knew personally. He
was a sturdy, thick, well set man at the time, clean shaven like his father, but
taller, and an excellent piper. He came frequently to Ord, in Skye, my father's
place. On one or two occasions he came with his father, and at other times
alone.
It was he, whom I first heard playing 'The Lass Of Glenshee', a very fine
old slow air, or dirge, which had almost completely died out. I never heard
anyone else play it except a Miss Williamson, of Glasgow, and she had been
frequently at Ord and probably picked it up there. At any rate, I carried it in
my memory for 45 years and published it in the 'Gesto collection of
Highland Music'in 1895.
I fancy he was taught the MacCrimmon notation mainly by his father, and
on his visits to Gesto, he would have the privilege of picking up wrinkles
from Gesto and John MacCrimmon.
Though my judgement was not so mature in 1850 as it is now, I should say
that John Bruce was an excellently able piper. He did not stick so much to
Ceol Mor [Big Music] as his father did, and having a large stock of marches
and salutes, he was never at loss for a good programme. Besides he was an
excellent player of dance music. I listened to him for a whole night on one
occasion at my sister's wedding- the late Mrs. Robertson of Orbost- where he
gave great satisfaction.
I do not know if he took prizes in this country, but he took them afterwards
in Australia. When his brother, Peter, at the Highland Society's competition
in Edinburgh in 1838, at the age of 16 and won a Highland Silver mounted
Pistol, a John Bruce, from the Isle of Skye, is mentioned among the
unsuccessful with Angus Maclnnes, piper to the most noble, the Marquis of
Huntly, and others.
One of the Bruces was piper to Sir Walter Scott. Lieut. MacLennon, an
excellent authority, tells me it was John Bruce, and that on one occasion
when the 'Wizard ofthe North' was unwell, John spent three days searching
for seven pebbles, one for each of the seven waters running south, to put
below Sir Walter's head at night as a cure. But Sir Walter said the stones
Page 55
were no use, unless he could find a young widow who had no wish to marry
again!
Mr. Simon Fraser of Australia, on the other hand, thinks it was his brother,
Malcolm, who was piper to Sir Walter.
John taught a man, named John MacDonald, from Glenelg, who died in
Dundee in 1874, who used to relate that Gesto played the pipes, and that John
Bruce was an excellent piper also.
He was piper for some years to Mr. Keith Macalister of Innistrynich on
Loch Awe. Afterwards he was with Dr. Crichton of Fort William, [whose
wife was Mr. Macalister's daughter, Emily], where he got married and went
to Australia. He was for some time with Mr. Godfrey MacKinnon of
Goonambil, and afterwards with Mr. Alexander MacGregor of Oatland,
Drouin, Australia.
Writing to Mrs. G. B. MacKinnon on the 17th September 1912, he says:- 'I
met John Bruce at a hotel he had in Melbourne, over 30 years ago, called,
'The Highland Chief. I think it was in Latrobe Street. His wife was then
alive. After her death, he gave up the hotel business, and was with a railway
contractor in Gippsland. I saw him again in Melbourne, and engaged him as a
piper to go to Glen Lyon Station, near Wilcannia, NSW. He was there for
about 6 years, occasionally coming to Melbourne, competing in the piping
competitions, where he usually came second to his brother, Peter. I don't
know much about his family. He had one son and a daughter, Mary, who
seemed a nice girl from her letters to her father, who always sent her money.
She lived in some service in St. Kilda. One daughter was married to a
MacDonald, engaged in the 'Argus' office. Another is still living in Broken
Hill. The son is in Gippsland.
When John came to Melbourne 17 years ago, my brother, W. P.
MacGregor, thought he would be better off at 'Ard Choile' his country house
at Macedon. He was about 2 years there, when my brother sent him to a
small hospital in Melbourne where he died, and was buried in the Melbourne
Cemetery.
Page 56
John Bruce's Bump.
There are many people in Bonnie Scotland who think John Bruce's
Bump, or any other bump they never heard anything about, of as much
importance as Bannochburn. They are called 'Young Scots' whose objects
seem to be anything but patriotism. They would divide the country into little
bots and create terrible turmoil where there should be none. The remedy for
which would be a 'bump' like John Bruce's, from a good stout cudgel!
Well, 'John Bruce's Bump' occurred in the following manner:About 1848, when John was at Ord, he and a grown up cousin of mine were
trying to break a stone of quartzite, the size of a cricket ball, by flinging it
with all their might against a flat rock. I was with them as a boy. When John
tried it, a portion of it rebounded and struck me on the top of the head. He
immediately rushed towards me and patted me, praising the hard head of the
MacDonalds, as MacVurich did at Harlaw! This calmed me a bit, but had it
not been for my bonnet, I should have been badly cut. As it was, there was a
considerable bump, which caused me to remember his frolic for many a day.
I am not sure but that it is still distinguishable. At any rate, I never forgot it,
as I am the only person living who knows the circumstances I remember
there.
When John was with the MacKinnons of Goonambil or before then, my
late brothers, myself, and Mrs. MacKinnon, sent him a first-rate pair of pipes,
with which, I believe, he won one or two prizes, and of which, he was very
proud.
I have pleasure in enclosing a photograph of him in his war paint, with an
elegant eagle's feather in his bonnet. I think this is a right, which the pipers
claimed from the Chiefs, who wore eagle's feathers, as it may be a claim of
descent from Robert the Bruce.
Mrs. MacKinnon, late of Goonambil, who knew John and Peter in
Australia, writes that after Gesto had taught old Sandy Bruce his pibrochs, he
retained him as a piper.
Page 57
Oban Times, Jan. 18th 1913The most renowned piper of old Sandy Bruce's sons was Peter Bruce. He is
said to have been the greatest piper that ever crossed the line, especially for
piobaireachd. That is quite possible, as he had a first class training, and others
who might have been as good settled at home. He had part of his training
under Captain Neil MacLeod of Gesto, who employed him as his piper, and
with the natural advantage of his father's teaching, and John MacCrimmon.
When at Gesto, he was thoroughly equipped to face the world.
It was he who taught Mr. Simon Fraser the MacCrimmon notation and, I
understand, Simon was the only pupil out of his own family that Peter Bruce
ever taught. In 1838, at the age of 16, he won the fourth prize, a Highland,
silver mounted pistol, at the Highland Society of London's competition, in
Edinburgh. On that occasion, out ofthe entries, there were only 15 selected to
compete, and Peter and John Bruce were among them. Though both were
very young at the time, and, I believe, Peter won at all the competitions at
which he competed in Australia.
Mr. Alex. MacGregor, in a letter to Mrs. G. B. MacKinnon, in September
last, says that he met Peter when he came to Melbourne for the competitions,
at which he always took first prize for Piobaireachd, thanks to Gesto and
MacCrimmon early supervision.
Mr. MacGregor further says that he had a very good farm near Benula,
NSW, [ actually Benalla, Victoria-BJMO.], where he spent most of his time.
Neither Peter nor John could tell their ages, and Mr. MacGregor used to chaff
them over this, when at the competitions. Peter's family has got several
medals, which he won at these competitions, two of which he won at
Geelong. One has the following inscription on it- 'Pipe Music, marches, 1st
Prize of 'Comunn na Feinne' to Peter Bruce, Geelong, Jany. 2nd I860'.
Another is inscribed, '1st Prize for strathspey and reels' in the same year, and
also a fine dirk, which he won for being the best dressed Highlander, and a
shoulder strap or belt, which was presented to Peter Bruce at Beechworth to
commemorate the hundredth anniversary of Burns birthday on the 25th
January 1857.
From the above it seems that Peter Bruce carried everything before him in
Australia, where he was champion piper, and I believe, he has been
succeeded by a son of Simon Fraser, who is the present champion. All were
nurtured in the MacCrimmon Notation.
Page 58
Peter Brace's family also possess the silver plate that was on the '«** nf ni™.c
presented by the Hon, the Lady Guyder to Sandy Bra e aTst Sans in 1*823
Both John and Peter Brace have been dead for some years now
One of John's daughters is still living at Broken Hill, and one son is in
SSSte
2^ father
BmCuS
f3mily' thCre
"** ^ SOns
^ One
is
Robert, the
in a photograph
group"»consisting
of four sons
two of
whom are piper,, and two grand children ofthe family of Mr G J Brace
and another son George, living in Perth, Australia. The whole lot are veS
•nte, igent good looking, well dressed, descendants of these feml^
and a credit to young Australia, w,th true national pride wear the 'GaTof
Old Gaul, even to the third generation.
Peter Brace seems to have two eagle's feathers in his bonnet Perhaps that
is allowed to the champions. All these Bruces were highly respected both a
rthe™Arali3' mt thdr mUS1Cal -P^ionfoLwed them whe?
hv
th, M
r ' y WCre notation
ab°Ut' °rfrom
am°ng
last of those
wl>° were taught
by the
MacCrimmon
livingthe
exponents
ofthe same.
*
*
*
*
The Braces of Glenelg. Contemporaries of John MacCrimmon.
JSf ?Ping,fratemity m Probab,v more enthusiastic at the present day than
?™ tu^I S 3CCept th0SC Wh0 followed the C,ans ™* Prince Charlie in
1745^
they22""
wereSeptember
very numerous
that
occasion
is apparent
from !he
the
fact
thatThat
on the
1745,on
the
day
ofthe Battle
ofPrestop^
Prince sent all his prisoners into Edinburgh, headed by 100 pipers playing
The King shall Enjoy his Own Again'. They numbered 1500, of whom 80
were
o f fi c e r s .
'
It must have been a tantalizing and grand sight for poor old 'Reekie' seeine
so many pipers marching up the High Street, followed by all the prisoners
with their captured baggage, cannon, military chest, colours, etc.
In a print which I have got of the advances of the Highlanders at
Prestopans, the dos mor , a large drone on the leaders pipe is in the centre
between the shorter drones. This may have been a mistake on the part ofthe
artist as in another print of a pipe, which was played in the '45, and could be
heard at a distance of 8 miles, In this print, the large drone is in the same
position as at the present day- next to the neck.
Page 59
Where these old pipers got their training is not known, but probably many
ofthem were ofthe MacCrimmon School. Both Captain MacLeod of Gesto
and Angus Mackay spelt the name 'McCrummen'. The Bruce family, of
whom I intend to treat, were well taught by the McCrummen system of
notation, and turned out splendid players. They consist of Alexander, or
Sandy Bruce, and his three sons- John, Peter and Malcolm. All had the
reputation of being great pipers. Sandy and his son, John, I knew personally,
so we are not so very far from the days of the McCrummen pipers after all.
But the other brothers, I never met. Sandy was taught his Piobaireachd or
pibroch by Captain Neil MacLeod of Gesto, and, of course, Gesto had the
McCrummen notation, which John McCrummen must have listened to often.
I must first have heard old Sandy in the early forties. I remember him
quite well. He was a man about 5 ft. 7 ins., sturdy and well set, of a ruddy
complex, clean shaven, not unlike Neil Gow in appearance. He wore a tartan
coat, with flaps embellished with silver-gilt bullet shaped buttons, and trews.
His walk, when playing pibrochs, was dignified and stately. And when he
came to the quick passages, he stood perfectly still. He generally set forth in
the porch at Ord, Skye, where he had sufficient elbow room, but the noise to
me in those days was something terrific.
Pibrochs were his forte, but he also played marches, salutes, and dance
music, when necessary. He would sooner play the latter- the dance music- or
the piob mhor, on large pipes. He reserved it for the 'piob sheonnaich' on the
bellows pipe, which he generally carried about with him on periodical visits
to our place. His playing pibrochs often affected my mother considerably.
She understood their language. I didn't in those days, but no doubt, they
brought old associations before her.
I do not think that old Sandy ever competed at the Highland Society
Competitions at Edinburgh, But his descendants in Australia have still got the
silver plate, that was on a pair of pipes, which he won at St. Fillans, on which
is the following inscription:- 'St. Fillans Pipe Prize, 27th August 1823Presented by the Honourable Lady Guyder, to Alexander Bruce, Piper to Mr.
Bruce of Glenelg.'
The son, Peter, won some prizes with the same pipes in Australia, but the
instrument has disappeared, the silver plate only being preserved.
Page 60
The Mr. Bruce of Glenelg mentioned on the plate of the prize, was the
proprietor of Glenelg, a most liberal and efficient landlord, who made great
improvements in planting trees, and changing the course ofthe river.
These were grand times- 'nuai bha na Brusich againn', when we had the
Bruces. The women picked up the stones from the bed of the river, and the
whiskey flowed like water- a very welcome contribution to such a damp and
cold climate. He was succeeded by a Mr. Evan Baillie , a banker of Bristol,
who turned out a just and generous landlord to the people when they were
emigrating at the time ofthe potato famine of 1846.
I have heard Bruce's son John say that his father and Angus Mackay once
went to a prize competition and tuned their pipes in a glen before they
reached the place, when Mackay admitted that Bruce was the better player of
piobaireachd. This was probably the St. Fillans Gathering, referred to on the
silver plate. His usual routine was to begin playing in the morning about 8
o'clock, without ever bring asked, and again during dinner, pibrochs and
salutes, and when there was any dancing, he played the bellows pipe. He was
a very amiable and agreeable man- one of nature's gentlemen, with a
considerable sense of humour, and possessed a large repertoire of old stories
of bygone days. I do not know the date of his death, but he was a pretty old
man when I knew him.
Page 61
Pipe Major William Gray, ofthe Glasgow Police Pipe Band writes, [11/ 11/ 1961],
to Hugh Fraser'Did you ever come across in Australia any MacArthurs from the Isle of Mull.
They were pipers and they made their own pipes. They were of Skye extraction and
related to my mother, who was a MacKinnon- Mull. I think these MacArthurs, I refer
to, were descendents of Charles MacArthur's nephews. If so, they must have been
near relations of your Grand-mother, Mrs. Hugh Fraser. Charles MacArthur, the
famous, was piper to Lady Margaret MacDonald, who married Lord Eglinton in
Ayreshire. Charles MacArthur, that would be about 1780, became a great friend ofthe
poet Robert Burns, and Burns must have heard many pibrochs from MacArthur. At
any rate, the remaining cousin of my mother's remained in Mull to look after her
father, John MacArthur, who died at 92 years of age. After her father's death, her
brothers asked her to go out to Australia. She consented and went to Australia, but she
only remained out one year. I know your grannie was a daughter of Charles
MacArthur. One of MacArthur's nephews in the Isle of Mull married a Miss
MacKinnon and was closely related to my mother- a MacKinnon. My father's mother
was a Mackay in Sutherland. -Regarding piping-. A few of our leading hands have
had heaps of glory thrust upon them and reported as being great masters. Of course,
they are nothing ofthe sort I can assure you. I have heard the bunch and in fact there
is not a real piper in the old country.'
[25 Dec. 1960]'If you feel as I do now that years are advancing, the only solace I can get is in
Ceol Mor and I am sure you are in the same position. Too late in life did I know what
Ceol Mor really was or where it could be found, [certainly not in Scotland].
I have, as you know, over One Hundred Pibrochs of your father's noting and these are
Treasures Trove. I see the whole position clearly in this direction. Pibroch is now
dead. What we have in print, as you know, is simply a remnant of remnants.'
[29th march 68]' Of course, it is almost an impossiblity to reed the modern chanter [tin whistle]
which does not admit of a full reed. 'Ceol Mor'- It is in my noddle day and night, and
this will remain till the 'end of the road'—'You can take it from me, Ceol Mor is
finished in Scotland. The so called 'champions' and the Hierarchy of the Pibroch
Society are a wash-out. Not a real piper in the lot.'
[26th dec. 59]Writing about 'MacCrimmon's Lament' Willie Gray says-'Classic! Absolute
Genius. Entirely apart in music and to be found nowhere else in the Ceol Mor of the
Scottish Bagpipe. The words ofthe song in Gaelic and English [which cannot supply
the idiom] are apart as poles. There's something for your musical Highbrows to
ponder over. The 'Root' of it all, 'Strad' included, as well as the great book of Kells,
Dublin, is in the old Feadan.'