Strathspeys (4/4) are jumping dances. Extremely pointed.
Reels (2/2 or Cut Time) sound like “Alligator, alligator” or “Salt and pepper, salt and pepper.” Reels are “skipping” dances (up and down a line, or around in circles, etc)
Jigs (6/8) sound like “Edible elephant, edible elephant.” Also See Playing Style
Hornpipes (2/4) sound like “humpty, dumpty, humpty, dumpy.” –OR– “I don’t know, I don’t know”
Bagpipe Hornpipes over emphasize the holds and cuts, so the feel has changed!
Slip jigs (9/8) sound like “artichoke, pineapple, Mexico.”
Slow Aires are not played strictly to time.
Complex Time Marches (6/8, 9/8, 12/8 Marches) have a waltz (1-2-3) feel to them though the 2 is usually closer to the 3 but sometimes the 1. The 1 and 3 though are almost always in place.
A flat is when a note in music is lowered a semi-tone (half step) below what would normally be played. If a flat is written within a bar (rather than in the key signature) that flatening of the note remains for the entire bar. When the flat is in the key signature it applies for the entire song.
This shows a flat and a double flat
The orders of flats written in a key signature is B E A D G C F (Battle Ends And Down Goes Charlse Father)
Note: The same pitch can have different names (see Enharmonic) depending on the Key of the scale (C# equals Db).
A sharp is when a note in music is raised a semi-tone (half step) above what would normally be played. If a sharp is written within a bar (rather than in the key signature) that sharpening of the note remains for the entire bar. If the sharp is in the key signature, it applies for the entire song.
A Sharp and a double sharp
Pipe music does not usually indicate the key signature (sharps and Flats). The bagpipes play a C# and an F# naturally. As we don’t have a way to play sharps and flats (without false fingering), you will seldom see them written in pipe music.
The orders of sharps written in a key signature is F C G D A E B (Father Charles Goes Down And Ends Battle)
Note: The same pitch can have different names (see Enharmonic) depending on the Key of the scale (C# equals Db).
To find the name of a key signature with sharps, look at the sharp farthest to the right. The key signature is the note a half step above that last sharp.
Key signatures can specify major or minor keys. To determine the name of a minor key, find the name of the key in major and then count backwards three half steps.
Keys with Flats
To find the name of a key signature with flats, look at the flat 2nd farthest to the right. The key signature is named for that flat.
The Bagpipes has a range of nine notes, low G to high A.
The bagpipe scale is tuned close to but not exactly on the “concert bb” scale.
The traditional (western) scale is tone-tone-semitone-tone-tone-tone-semitone, with the octave divided almost evenly into 12 parts. The
Bagpipe scale is an octave (fairly) evenly divided into 8 parts. The tuning is close enough to the traditional scale that you can play along with a concert band, but be aware that your 7th (high g) is flat.
There will not be both sharps and flats in a key signature.
The key signature of a tune indicates which sharps, flats or naturals are used within the tune.
In modern transcriptions of Bagpipe Music, you will typically not see a key signature written. That is because we don’t have a good (nor consistent) way to produce sharps, flats or naturals. In theory bagpipe music should have 3 sharps written (key of A). In practice we would only write 2 sharps because the scale that the bagpipes plays (mixolydian) has the 3rd sharp flattened always. This would require a “natural” symbol written in front of every occurrence of the G in any/all tunes.
Key of D. What the bagpipes scale would be written in if we wrote a key signature.
In the physics realm of music, going up one octave is the doubling of the frequency of the pitch.
Concert B flat (standard pitch tuning for concert bands and orchestras) uses 440 HZ (Herz – cycles per second) for the A, otherwise known as A440. The next octave up, the A would have 880Hz.
The bagpipe Low A is tuned near the B flat of the A440 scale which would be about 477Hz.
There are two octave-scales on the bagpipe: low G to high G; and low A to high A. Don’t confuse the range (one octave plus one note) with the scales.
An octave of notes on the bagpipes would be
(low) A B C D E F (high) G (high) A; or,
(low) G (low) A B C D E F (high) G
The scale is a sequence of 8 notes of tone and semi-tone intervals. The key signature indicates which of these tone and semi-tone intervals apply.
As the bagpipes do not have a way to play accidentals without using false fingering, the key signature is not written. Otherwise you would see an F# and C#. See What Key is Bagpipe Music written in
Keys with Sharps
To find the name of a key signature with sharps, look at the sharp farthest to the right. The key signature is the note a half step above that last sharp. Key signatures can specify major or minor keys. To determine the name of a minor key, find the name of the key in major and then count backwards three half steps.
Pictures borrowed from XYZ.com but could be regenerated by any music scribing software!
Keys with Flats
Determine the Key from the last note
In classical Sonata music, you can determine the key of the music from the tonic (root) of the last note/chord. This is because our ear says the tune doesn’t sound finished until the tonic is played.
That said, due to different modes of music, the key may not be what you think it is. As well, you could be in a (related) minor key rather than the major.
Each Major key has 1 major scale and 3 minor scales – Melodic, Harmonic, Natural.
Scale
Scale means ladder in latin.
A scale is a series of notes going up or down in pitch.
The scale of the bagpipe has the following tuning:
Tone + Tone + Semi-Tone + Tone + Tone + Semi-Tone + Tone.
The bagpipe scale is modal, so will sound odd to other musicians.
Diatonic Scale
The diatonic scale is composed of 8 adjacent notes each a tone or semi-tone apart. In this scale each note has a different name i.e. A B C D E F G A.
The Tonic gives the scale its name. It is the lowest and the highest note of a scale
Dominant
A chord built on the Dominant is so strong that it masters the key.
Mediant
The Mediant note is between the Tonic and the Dominant. It helps determine if the scale is a Major scale or a Minor scale.
Chromatic Scale
A chromatic scale is 12 notes that are a semi-tone apart. The scale can start on any note and when played covers an entire Octave.
If written, the scale employs sharps when ascending and flats when descending.
traditional scale – mixolydian scale
The Bagpipe scale consists of nine notes, low G to high A. The bagpipe scale is tuned close to but not exactly on the “concert bb” scale. The traditional (western) scale is tone-tone-semitone-tone-tone-tone-semitone, with the octave divided almost evenly into 12 parts. The Bagpipe scale is an octave (fairly) evenly divided into 8 parts. The tuning is close enough to the traditional scale that you can play along with a concert band, but be aware that your 7th (high g) is flat. This is known as an mixolydian scale.
Major Scale
A Major scale has 2 tetrachords. TETRA means four.
The tetrachord is 2 tones followed by a semi-tone. For example C, D, E, F. The second Tetrachord would be G, A, B, C.
In all major scales, the semi-tones are between the 3rd and 4th, and the 7th and 8th notes. (i.e. Whole tone, Whole tone, Semi-tone)
The Tonic (root note) of a Major scale with sharps is always the diatonic semi-tone above the 7th note. In the D scale example below, note that the 7th note (C#) is one diatonic semitone below the D of the Tonic. Also note that in the order of sharps (FCGDAEB) that only the sharps up to that 7th note exist within the scale (in this example F and C).
The Tonic of a Major scale with flats has similar rules. The scale is named for the 2nd last flat in the scale. See Db Scale below. Note that F Major Scale has only 1 flat so is an exception to this rule.
Notice the difference between the D and the Db scale is that the Db scale is shifted 1 semi-tone lower for every note of the scale compared to the D scale.
C Major scale
C, D, E, F, G, A, B, C
D Major Scale
D, E, F#, G, A, B, C#, D
Db Major Scale
Db Eb F Gb Ab Bb C Db
F Major Scale
F G A Bb C D E F
Minor Scales
There are three types of scales:
natural minor scale
harmonic minor scale
melodic minor scale
Minor scales are not formed the same way as the Major scales. Instead of 2 tetrachords, the minor scales have a major inferior tetrachord and a minor inferior tetrachord. The difference between the superior tetrachord allows you to distinguish which type of minor scale we are dealing with.
Each Minor scale has a related Major scale in that they share the same key signature. The difference is the Tonic note. To find the related Minor scale of the Major scale, take the Tonic of the Major scale and move backwards three semitones. For example, the C Major scale is related to A Minor (C -> B -> Bb -> A). Another way to do this determination is to take the 6th note of the Major scale.
Major Tetrachord
Key of C Major:
C D E F (Tone Tone Semitone)
Minor Tetrachord
Key of E Minor (Bb Eb Ab):
C D E F (Tone Semitone Tone)
natural minor scale
The Natural Minor scale uses the exact same key signature as its related Major scale with no change.
Tone Semitone Tone Tone Semitone Tone Tone
harmonic minor scale
In the Harmonic Minor scale, you take the same key signature as the natural minor scale, but then raise the 7th note. If the 7th note is flat, you raise it that semitone to the natural note (i.e. Bb becomes B). If the note is already sharp, you raise it a second sharp (i.e. A# becomes B).
Tone Semitone Tone Tone Semitone 1.5 Tone Tone
D Harmonic Minor scale:
D E F G A Bb C# D
A Harmonic Minor scale:
A B C D E F G# A
melodic minor scale
A melodic minor scale has the 6th and 7th notes raised when ascending but played normally when descending.
A Melodic Minor (no sharps or flats)
A B C D E F# G# A G F E D C B A
D Melodic Minor (Db)
D E F G A B C# D C Bb A G F E D
Determining the Key of a tune
To determine the key, there are a couple of things you can look at:
the last note of the tune
in Western music, a tune generally ends on the Tonic.
bagpipe music can follow this rule to a certain extent, but we don’t have a lot of keys to play within.
the leading note (7th note) of the scale. This is dependent on the key signature.
an accidental beside the raised 7th will generally indicate that this is a minor key.
If the tune doesn’t have the key signature written at the start, you can determine the key by making note of all of the accidentals within the tune. If they are all sharps, or all flats, you can determine the key by jotting down the list of sharps or flats, and determine which key has those in it.
For example, if you had:
F#, C# and G#, you would have the key of A.
F#, C#, G# and a B#, you will see that there are a bunch of missing intervening sharps and therefore B# would be an accidental. You would still have the key of A for this example.
Finding the key for flats works the same way.
If you have both flats and sharps, check if there is only 1 sharp. If so this is probably a flat minor key with the leading note (7th) raised.
When experiencing something, our mind puts the experience, knowledge, etc into short term memory. If we process something three times, the memory becomes stronger. The next time we sleep, those memories are then moved into long term memory.
The more often we process something, the stronger the memory becomes. If we process something similar but slightly different, we now have 2 memories competing against each other. To reduce this internal competition and to strengthen the true memory we want, we need to compare what we learned versus what we wanted to learn. In terms of music, this means comparing what we played versus what we were trying to play.
We will take the bigger picture parts of piping, and break them down into smaller chunks so that we can focus on small items. This focus will allow us to process it enough times to get the knowledge or technique into long term memory.
To enable our best learning, we need to have Ownership, Enjoyment of the activity, and intrinsic Motivation. If we don’t have these 3 things, we aren’t going to put the effort in to master what we are learning.
