=============================================================================
=               Scales and Modes in Scottish Traditional Music              =
=                                  Jack Campin                              =
=============================================================================
Seven-Note Modes
================
1. Pitch Sets
== ==========
Nearly all Scottish tunes are based on the usual Western 7-note scale, or
on scales that leave one or two notes out of it.  These scales are made by
selecting seven notes from the 12 in an octave according to the pattern
of the white notes on a keyboard.  The white notes also have names in
tonic sol-fa.  This table describes this pitch set adding the intervals
between successive notes (T for tone, S for semitone):
   1  2  3  4  5  6  7  8  9 10 11 12
   C     D     E  F     G     A     B
  do    re    mi fa    so    la    ti
      T     T   S    T     T     T    S
I'm going to use some slightly unusual terminology to avoid unnecessary
confusion; the usual language of music theory makes for muddle when used
to discuss Scottish folk music.  This will make the next few paragraphs
into a bizarre exercise in saying obvious things in a very eccentric way,
but it gets clearer later on.
(Note to sol-fa users: British (Curwen) sol-fa allows the pitches to be
transposed for different keys, whereas some Continental systems don't.
Here, do will always be C, which fits both systems).
An ABSOLUTE PITCH SET is a collection of notes chosen from the 12 available
that may be used in some order or other to make tunes.  I'm deliberately
not calling these "scales".

X:0
T:The Chromatic Pitch Set and the Diatonic White-Note Pitch Set
M:12/4
L:1/4
F:http://www.campin.me.uk/Music/Modes/Modes-hepta.abc	 2024-03-29 093045 UT
K:C
     C ^C      D ^D      E      F ^F      G ^G      A ^A     B ||
"_do"C  z "_re"D  z "_mi"E "_fa"F  z "_so"G  z "_la"A  z "_ti"B|]
The intervals between the white notes of the piano follow a sequence, in
ascending order: tone, tone, semitone, tone, tone, tone, semitone.  This
pattern is a RELATIVE PITCH SET.  The pattern can be started at (transposed
to) any point of the 12-note chromatic scale: since the pattern is
asymmetrical, it gives 12 different absolute pitch sets.  I'll name them
after the number of sharps or flats in each, with sharps as positive numbers
and flats as negative:

X:0
T:The 12 Diatonic Pitch Sets
M:7/4
L:1/4
K:C
"^-5"_A _B  c _d _e  f _g||\
"^-4"_A _B  c _d _e  f  g||\
"^-3"_A _B  c  d _e  f  g||
"^-2" A _B  c  d _e  f  g||\
"^-1" A _B  c  d  e  f  g||\
"^0"  A  B  c  d  e  f  g||
"^+1" A  B  c  d  e ^f  g||\
"^+2" A  B ^c  d  e ^f  g||\
"^+3" A  B ^c  d  e ^f ^g||
"^+4" A  B ^c ^d  e ^f ^g||\
"^+5"^A  B ^c ^d  e ^f ^g||\
"^+6"^A  B ^c ^d ^e ^f ^g|]
Usually these are written by putting the sharps and flats at the start
of each line, as they won't change:

X:0
T:The 12 Diatonic Pitch Sets (as key signatures)
M:7/4
L:1/4
K:Db
"^-5"A B c d e f g||\
K:Ab
"^-4"A B c d e f g||\
K:Eb
"^-3"A B c d e f g||
K:Bb
"^-2"A B c d e f g||\
K:F
"^-1"A B c d e f g||\
K:C
"^0 "A B c d e f g||
K:G
"^+1"A B c d e f g||\
K:D
"^+2"A B c d e f g||\
K:A
"^+3"A B c d e f g||
K:E
"^+4"A B c d e f g||\
K:B
"^+5"A B c d e f g||\
K:F#
"^+6"A B c d e f g|]
The first one and last two are never used in Scottish music except by solo
singer/guitarists with capos.  Since the music is never written that way,
I won't use them in this document - all key signatures will range between
four flats and four sharps.
An important pitch set in Scottish music is that of the Highland bagpipe
chanter, which has nine notes using two sharps:

X:0
T:Notes of the Bagpipe Chanter
M:9/4
L:1/4
K:C
G AB^cd e^fga|]
A pitch set is just a selection of notes you can use in a tune; any real
tune will not just have an absolute pitch set, but also a TONAL CENTRE,
FINAL, or HOME NOTE, which is the pitch in the set that the tune wants to
end on (and usually does, except for some oddities like circular dance
tunes).  "Wants to end on" is vague, and there is no good way to make it
fully precise.  Guitar accompanists and other people thinking in terms of
"common practice" harmony, where every part of a melody is seen as having
an associated underlying chord, will decide the tonal centre by figuring
out what chord sounds best as a close for the tune, or if it doesn't close
in a straightforward way, the one that seems most important to accompanying
it.  But not all Scottish tunes have reasonable chordal accompaniments.
The combination of an absolute pitch set and a tonal centre make up a KEY
(this is an unusually narrow way to use the word, but I'm going to stick
to it here).  This is the same notion of key that ABC uses; what you write
on the "K:" line in the header.
Other musical idioms use different relative pitch sets; it's worth giving
an example.  A scale commonly found in Middle Eastern music is called
HIJAZ in Arabic, Persian and Turkish (named after a region of Arabia, but
for no good reason).

X:0
T:The Hijaz Scale
M:10/4
L:1/4
K:DMix
D2 _E ^F G A _B c d2|d2 c _B A G ^F _E D2|]
There is no way to get that from the Western choice of seven notes.

X:0
T:The Chromatic Pitch Set and the Hijaz Scale
M:none
L:1/4
K:C
D2 _E =E  F ^F  G ^G  A _B =B  c d2||
D2 _E  z  z ^F  G  z  A _B  z  c d2|]
If you were to make a piano that let you play the hijaz scale on the
white keys, you'd end up with a pair of black keys side by side for
E natural and F natural, and with F sharp and B flat on white keys,
with no black key separating each from the G above and A below.  The
piano keyboard wasn't designed in the eastern Mediterranean.  It was
designed culturally near enough to Scotland to work for Scottish music.
Here's a tune example, an Egyptian love song often used for dancing:

X:0
T:Ah Ya Zayn
M:2/4
L:1/16
Q:1/4=100
K:DMix % hijaz
 FG|A6 FG|A6       FG|A_BAG ABAG|F6
 A2|G6 FG|A_BAG F_ED2|AGGF F_EED|D_EFG A2
_BA|G6 FG|A_BAG F_ED2|AGGF F_EED|D2 z4 |]
In Arabic notation, the key signature would have both one sharp and two
flats; not many ABC implementations can do that at present, so I've used
accidentals.
A Sephardic Jewish song in the same mode, probably from Istanbul around
1800, with Judeo-Spanish words.

X:0
T:La Rosa Enflorece
M:4/4
L:1/8
Q:1/4=100
K:APhr
 A| d3   e f>e df |   e>d^cB A3
 A| d3   e fe  df |   e4     z2||
ef| g>e eg f>e df |   ed^cB  A3
 A|^c B2 A GA  B^c|[1 AB^cd  e2:|\
                   [2 A4     z3|]
An Armenian example (I don't know the title - I got it from a collection
of songs in Armenian script, which I don't read):

X:0
T:Armenian Song
M:2/4
L:1/8
Q:1/4=100
K:DPhr
A>c  BA |A>c  BA  | c>B  BA |(B2  d2)|
c>B  BA |A>G  G>^F|^F>G  AA | A4    :|
D>E ^F>G|A>G ^FE  | D>E ^F>G| A>G A2 |
A3    B |A>G ^F2  | A>G ^FE | D4    :|
A Bosnian "sevdah" love song.  I've included Zero's chords, which show
a typical "three-chord trick" for the hijaz scale.

X:0
T:Moj Dilbere
S:Muhamed Zero, Sevdah Bosnjaka, Sarajevo 1995
M:4/4
L:1/8
Q:1/4=90
K:DPhr
    "D" ^F2 G2 A2 (3BAG|"D"A8         |       \
    "Gm" B3  A B2   c2 |"D"A3 B A2  G2|       \
    "Cm"^F3  A GF   E2 |"D"D8        ||
  |:"D"  A3  B c2   B2 |"D"A3 B A2 G^F|"Cm"E6 \
D2|      C3  D ED  ^FE |"D"D8        :|
Another example from outside Scottish music is the six-note WHOLE-TONE
relative pitch set.  This is used in some folk music from Eastern Europe,
but is most familiar as used by French composers of the early 20th century,
who were imitating the tonal effects of Indonesian gamelan music.  Unlike
the white-note scale, it's symmetric.  There are only two whole-tone
absolute pitch sets, each taking half of the notes of the chromatic scale:

X:0
T:The Two Whole-Tone Scales
M:9/4
L:1/4
K:C
 C2  D  E ^F ^G ^A  c2| c2 ^A ^G ^F  E  D  C2||
^C2 ^D  F  G  A  B ^c2|^c2  B  A  G  F ^D ^C2|]
The symmetry means that none of the six notes has a distinctive position
in these scales.  The result is that there is no tonal centre; whole-tone
melodies wander around randomly and could stop anywhere in the scale.  By
contrast, Scottish music nearly always has a single tonal centre, and the
pitch sets it uses make it easy to locate.  It isn't easy to write real
tunes in the whole-tone scale.  This is a scale study by the ocarina maker
Giorgio Pacchioni, meant for a whole-tone ocarina of his own design, which
makes it very easy to play.

X:0
T:Pacchioni's Whole-Tone Etude
M:4/4
L:1/8
K:C
z2  G4  A2| B2 ^c2 ^d2  f2 | \
z2  A4  B2|^c2 ^d2  f2  g2 |
z2  B4 ^c2|^d2  f2  g2  a2 | \
z2 ^c4 ^d2| f2  g2  a2  b2 | \
z2 ^d4  f2| g2  a2  b2 ^c'2|
 GB^dB  GBdB | GB^dB  GBdB | \
 A^cfc  Acfc | A^cfc  Acfc |
 B^dgd  Bdgd | B^dgd  Bdgd | \
^cfaf   cfaf |^cfaf   cfaf |
^dgbg   dgbg |^dgbg   dgbg | \
 fa^c'a fac'a| fa^c'a fac'a|a4 z2|]
Because the diatonic pitch set has an asymmetric pattern, you can always
tell where the tonal centre goes if you transpose it.  A relative pitch
set and a tonal centre together make up a MODE (sort of - see later, in
the section on melodic contours).  Only four of the seven notes in the
relative pitch set are often used as a tonal centre for a mode used in
Scottish music; in the white-note absolute pitch set, these are C, D, G
and A (do, re, so and la).  Two more (E and F, or mi and fa) are not
often used to base modes on, but their modes are worth knowing about to
build a clear and simple system describing the whole Scottish repertoire.
The names given to these modes in Western music theory are about 1000 years
old and make no sense at all.  They are named after places in Greece; this
is because ancient Greek music theorists had an idea (mostly wrong) that
each part of the country had its own special mode.  The mediaeval European
theorists then confused things even further; they thought they were writing
about the same modes as the ancient Greeks but systematically misinterpreted
what the Greek theory said.  After 1000 years it's a bit too late to think
about changing this, so I'm going with the flow.
2. The Major Mode
== ==============
The commonest mode in all the traditional musics of the British Isles is
the MAJOR mode ("ionian" to the mediaeval theorists, "chargah" in Turkish
music theory, "mahur" in Persian, "bilaval" in the music of North India,
"sankarabharana" in Carnatic music).  In this scale the "1" pitch (C in
the white-note scale) is the home note.
One common way of describing a scale is by the sequence of intervals that
occur in it as you ascend it for an octave; in the major scale, this sequence
is tone-tone-semitone-tone-tone-tone-semitone, or TTS TTTS in the abbreviated
form I'll use from now on.  Using the sol-fa "do re mi" system, it's sometimes
called the "do-mode" and goes like this:

X:0
T:The Major (do) Scale
M:10/4
L:1/4
K:C
"_do"C2 "_re"D "_mi"E "_fa"F "_so"G "_la"A "_ti"B "_do"c2 |\
"_do"c2 "_ti"B "_la"A "_so"G "_fa"F "_mi"E "_re"D "_do"C2|]
Here's an old song, adapted by Burns, where the home note is G, so there is
one sharp:

X:0
T:Duncan Gray
G:song
M:C
L:1/8
Q:1/4=120
K:G
DG FG    AB F2|G2    A>c BG G2:|
Bd dc/B/ cc c2|Bc/B/ AG  FE D2 |
DG FG    AB F2|G2    A>c BG G2:|
Another tune popularized by Burns:

X:0
T:Corn Rigs
G:song or reel
M:C|
L:1/8
Q:1/2=108
K:A
E2|A3 B c2BA|G3 A B2E2|A3 B cdBc|A2 e4    E2|
   A2e2 fedc|dcBA GABG|FGAF BAGF|E2 A>B A2 ||
E2|A2e2 cde2|G3 A B2E2|A2ed cdBc|AB cd  e2A2|
   A2e2 fedc|dcBA GABG|FGAF BAGF|E2 A>B A2 |]
Here's a jig from around 1800 where the home note is D in the scale with
two sharps:

X:0
T:Miss Sally Hunter of Thurston
S:The Beauties of Niel Gow
C:Nathaniel Gow
M:6/8
L:1/8
Q:3/8=120
K:D
A|DFA d2A|B2A d2A|Bcd efg|efd cBA |
  DFA d2A|B2A Bcd|egf edc|d3  D2 :|
g|fed g2e|a2f b2g|fef def|efd c>BA|
  fed g2e|a2f g2B|fga Adc|d3  d2g |
  fdf geg|afa bgb|afd Bcd|efd cBA |
  DFA d2A|B2A Bcd|egf edc|d3  D2 |]
A reel from the Borders:

X:0
T:The Randy Wife of Greenlaw
G:reel
S:Sarah Northcott
M:C|
L:1/8
Q:1/2=100
K:D
c|d2AG F2Dc|d2fd eBBc|d2AG F2DF|GBAG FDD    :|
c|d2df abaf|gefd eBBc|d2df abaf|geaf (3ddd dA|
  d2df abaf|gefd eBBc|dfce BdAF|GBAG FDD    |]
A children's song, originally from Newcastle, which has been widely used
as a Scottish dance tune:

X:0
T:Weel May The Keel Row
G:song
S:Gall and Inglis, Select Songs of Scotland
M:2/4
L:1/8
Q:1/4=120
K:G
D|B>B GB |c2 Ac |B>B GB |AF DD|BB  GB |c2 Ac |B>G A>F|G3:|
c|B>d dg |e2 dc |B>G GB |AF Dc|B>d d<g|e2 dc |B>G AF |G3:|
z|B2  G>B|c2 A>c|B2  G>B|AF D2|B2  G>B|c2 A>c|B>G A>F|G3:|
And a pipe march, which during World War 1 was adapted for the familiar
(and awful) song "The Road to the Isles":

X:0
T:The Bens of Jura
C:John McLellan
B:8th (The Argyllshire) Battalion Argyll and Sutherland Highlanders: A
B:Collection of Pipe Tunes (Paterson's Publications Limited, July 1933)
N:I suspect that more dotted figures were intended than were printed
M:2/4
L:1/16
Q:1/4=80
K:D
   A>d|f4   agef|d2A2 A2dc|BGBc defa|e4 e2Ad    |
       f4   agef|dedc B2ag|fafd Acec|d4 d2     :|
   f>g|aAAA fAAA|dedc B2dc|BGBc defa|e4 e2 [1 fg|
       aAAA fAAA|dedc B2ag|fafd Acec|d4 d2     :|
[2 A>d|f4   agef|dedc B2ag|fafd Acec|d4 d2     |]
This is one of the oddest major-mode tunes from Scotland.  James Hogg
claimed to have collected it as a song in the Highlands, but it's very
similar to the slightly earlier Continental waltz tune "Ach du lieber
Augustin", and it has far more wide leaps than any normal vocal tune.

X:0
T:Come O'er the Stream, Charlie
M:3/4
L:1/4
Q:1/4=144
K:F
C|F> A c|c  A d|c  A f|c A \
G|F> A c|c  A F|C> A G|F2:|
c|f  e f|d  e f|d  g f|e d \
c|f  e f|d  c B|A  G F|c2
c|B  d B|A  c f|c  A F|A G \
e|f> d B|c> A F|C> A G|F2|]
There is a cliche that tunes in the major sound happy.  To disprove
that, here is a Shetland lament for drowned fishermen - the title
refers to the unique black sweater that identified the dead body.

X:0
T:Auld Swaara
S:Tom Anderson, Haand Me Doon Da Fiddle
M:2/4
L:1/8
Q:1/4=56
K:G
D| GG        (3D(B,G,)| (3D(GD)  ((3B,A,B,    |G,2) {c}((3BAF)|
   GG        (3D(B,G,)| (3D(GD)  (3(B,A,)B,   |DG         G  :|
A|(G/F/E/D/) (3(CEC)  |((3B,DB,)   (A,>B,)    |G,2  {c}((3BAF)|
  (G/F/E/D/) (3(CEC)  |((3B,DB,)   (A,>B,)    |DG         G  :|
D|(G/F/E/D/)    Gg    |   e(d/B/)   d/(e/f/g/)|a2   ({A}(3B)AF|
  (G/F/E/D/)    Gg    |   e(d/B/) (3d(gd)     |BG         G  :|
And another sea song about a dead lover, maybe English (this is
the way I hear it sung in Scotland):

X:0
T:Lowlands Away
M:3/4
L:1/8
Q:1/4=72
K:G
G|Bc d3    e |     dB G3
z|g2 d2 (3gab|(3:: g2 f2 d2- d
d|fg a3    f |     gd c4|
  [M:4/4]d4 c B2A|[M:3/4]G4z|]
And of course the same mode is found in most of Europe.  An Irish
example originally from the 18th century:

X:0
T:The Minstrel Boy
M:C|
L:1/8
Q:1/2=75
K:D
A|D3 E GFED|F2A2 d2cd|B2A2 FGAF|E4       D3:|
A|d2c2 B2cd|c2B2 A3 A|B2F2 F2A2|Bc/B/ Ac d3
A|D3 E GFED|F2A2 d2cd|B2A2 FGAF|E4       D3|]
a Gypsy folksong from Hungary:

X:0
T:Harom Krumpli A Tuzbe
S:Csenki & Paszti: Baszarozsa - 99 Cigany Nepdal, 1955
M:2/4
L:1/8
Q:1/4=144
K:C
cc cc|cc  c2|ed cB|AB G2 |
dd dd|c B2 A|G2 G2|G2 z2 |
FF FF|FG  F2|ED DD|DE C2 |
GG GG|GF  ED|C2 C2|C2 z2|]
a Swedish polska:

X:3
T:Eklundapolska no.3
M:3/4
L:1/16
Q:1/4=100
P:AABB
K:G
P:A
g2fg b2g2 d2B2|cBcd egec A2c2|   B2AB cdcA BcBG|[1 A2d2 d8:|\
                                                [2 ABAF G8||
P:B
B3B  c2c2 B2B2|A2d2 d6     D2|[1 B3B  c2c2 B2B2|   ABAF D8:|\
                              [2 G2AB cdcA BcBG|   ABAF G8|]
and a tune now played all over the British Isles but originally from
Elizabethan England (one of the few tunes in British folk repertoire
where the major seventh is an essential note at the bottom of the
range).

X:0
T:The Cuckoo's Nest
M:C|
L:1/8
Q:1/2=88
K:D
B2 |A>dd>c d>ef>d|e>dc>B A2 A>B|c>BA>B c>de>d|c>AG>F G2
A>G|F>DF>A d>fe>d|c>AG>F G2 A>G|F2 F>D C>DE>G|F2 D2  D2:|
B2 |A>FD>F A>FD>F|A>GF>E D2 E>F|G>EC>E G>EC>E|G>FE>D C2
D>E|F>EF>D d>fe>d|c>AG>F G2 A>G|F2 F>D C>DE>G|F2 D2  D2:|
A tune doesn't have to be very long to have an unmistakable mode.
This is probably the most-played tune in present-day Scotland:

X:0
T:Nokia tune
T:Gran Vals for guitar, bars 13-16
C:Francisco Tarrega
M:3/4
L:1/8
Q:3/4=68
K:A
ed F2 G2|cB D2 E2|BA C2 E2|A6|]
Transposed forms of this mode are:

X:0
T:Major (do) Scales
L:1/4
M:10/4
K:Ab
"^A flat" A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:Eb
"^E flat" E2 FG AB cd e2|e2 dc BA GF E2||
M:10/4
K:Bb
"^B flat" B2 cd ef ga b2|b2 ag fe dc B2||
M:10/4
K:F
"^F"      F2 GA Bc de f2|f2 ed cB AG F2||
M:10/4
K:C
"^C"      C2 DE FG AB c2|c2 BA GF ED C2||
M:10/4
K:G
"^G"      G2 AB cd ef g2|g2 fe dc BA G2||
M:10/4
K:D
"^D"      D2 EF GA Bc d2|d2 cB AG FE D2||
M:10/4
K:A
"^A"      A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:E
"^E"      E2 FG AB cd e2|e2 dc BA GF E2|]
For comparison, it may be useful to describe these modes by the sequence
of pitches occurring in each one when the home note is fixed: I'll use A,
since this is one of the commonest tonal centres in Scottish music and is
the home note of the pipe chanter.  The major scale for A is AB^cde^f^ga.
Another way to compare different scales is to pick a fixed absolute pitch
set and say which note in it becomes the tonal centre; I'll use the pitch
set of the pipe chanter.  "The Bens of Jura" uses every note it has,
centring on D, and pipers sometimes call the major mode the "D mode".
Because the word "mode" is used in other ways in this document, I'll say
the D major scale is the "D-final" seven-note mode on the chanter.

X:0
T:The Major Scale (D-final) on the Pipe Chanter
M:none
L:1/4
K:Hp
d2 efgagfe d4 x d2 cBAGABc d4|]
3. The Dorian Mode
== ===============
The DORIAN mode has pitch 3 (D in the white-note scale) as its home note,
with interval sequence TST T TST.  In A, it's ABcde^fga.  In sol-fa parlance
it's the re-mode.

X:0
T:The Dorian (re) Scale
M:10/4
L:1/4
K:DDor
"_re"D2 "_mi"E "_fa"F "_so"G "_la"A "_ti"B "_do"c "_re"d2 |\
"_re"d2 "_do"c "_ti"B "_la"A "_so"G "_fa"F "_mi"E "_re"D2|]
It's found in song tunes throughout the British Isles.  The most
often cited example is a sea shanty which could have come from
anywhere:

X:0
T:What Shall We Do With the Drunken Sailor
G:shanty
M:C|
L:1/4
Q:1/2=140
K:ADor
ee/e/ ee/e/|eAce |
dd/d/ dd/d/|dGBd |
ee/e/ ee/e/|efga |
ge    dB   |A2A2|]
but there are many Scottish examples:

X:0
T:Canan nan Gaidheal
M:12/8
L:1/8
Q:3/8=54
K:DDor
  D/D/|DAG  ADF  E/D/C2- C2 D/E/|AAG  E>DC D3- D2
  A/A/|A>Bc B>AG A3-     A2 A/A/|A>Bc B>AG A3- A2
  G   |A>DD E>DC C3-     C2 G   |A>AG E>DC D3- D2
|:c   |d<dc ADF  E/D/C2- C2 D/E/|AAG  E>DC D3- D2:|

X:0
T:Andro wi his Cutty Gun
G:drinking song
S:MacColl, Folk Songs and Ballads of Scotland
M:3/4
L:1/4
Q:3/4=72
K:D Dorian
  A3  |(D2 E)|(F<G) E|C3 |\
  A3  | D2 E | F<E- E|D2
A|A2 D| D2 E | F  E2 |D2  \
A|A2 D| D2 E | F  E2 |D2||
G|A2 d| d2 e | c2   B|A2  \
G|A2 d| d2 e | c  B2 |A2
G|A d2| d2 e | c2   B|A2  \
D|D2 A| G2 E |(F  E2)|D2|]
In this tune the Dorian sixth only occurs once, but at a climactic point:

X:0
T:The House of Gray
S:Kerr's Merry Melodies
G:jig
M:6/8
L:1/8
Q:3/8=108
K:ADor
e|AAA c2e|dBG dBG|AAA c2d|ece ecA|
  gag f2e|dBg dBG|AAA cde|dBG A2:|
B|ccc g2c|ece dBG|ccc g2c|ece geg|
  aga g2e|dBg dBG|AAA cde|dBG A2:|

X:0
T:The Burning of Auchindoun
G:song
S:the way I sing it, mostly from Ewan MacColl
M:4/4
L:1/4
Q:1/2=66
K:EDor
E/|E>B B>A|B<B E2 |G>G  F2  |(ED)  B,>E|
   E2  B<B|AA  B>A|G>E  F>D | E2   E2  |
   B>B d2 |c>c B2 |E>B  B>B |(A<F) D>E |
   E2  B2 |A<A B2 |G>E  F>D | E2   E2 ||
   B2  d>d|c<A B2 |E>B  B<B |(A<F) D2  |
   E2  B2 |A<A B>A|G>E (F<D)| E2   E3/|]

X:0
T:May Margaret
S:Blaikie MS via Motherwell
B:Bronson v3 p163
N:tune for Child ballad #162
M:2/4
L:1/8
Q:1/4=56
K:DDor
G   |cB/c/ dd|edc||\
A   |ccdd    |edc||\
d/c/|BAGD    |EGA||
d/c/|BAGD    |EDD||\
d/c/|BAGD    |EGA||\
d/c/|BAGD    |EDD|]

X:0
T:Bonnie Lass Amongst the Heather
G:song
S:Scottish Folksinger
M:5/4
L:1/8
N:metre re-notated to avoid fermatas
Q:1/4=88
K:DDor
 FG |        A3 D D4 (EG)| G3   E   G4
(EG)|[M:4/4] A3 A D3   D | c2 (BA) (Bc) d2-|d6
(cd)|[M:5/4] e3 d d4 (AB)|(cB)(AG)  G4
(AB)|[M:4/4] c2d2 A3   G | F2 (ED)  C2  D2-|D6|]

X:0
T:To Daunton Me
G:strathspey
N:based on a Lowland song from the early 18th century (see the
N:tunes from Mitchell's "The Highland Fair" of 1731 on my website)
M:C
L:1/8
Q:1/4=120
K:EDor
G>A|B2   E2  E2   A>G|F>GE>F D2d>e|f>ed>B d<BA>F|B2 E2  E2:|
F>E|D2   d2  d2   B>c|d>ed>B A2d>c|B2 e2  e2 e>f|g>fe>d B2
d>e|f2 (3agf e2 (3gfe|d>ed>B A2d>e|f>ed>B d<BA>F|B2 E2  E2|]

X:0
T:My Daughter Shilo
S:James Thomson's MS for the treble recorder, 1702
B:David Johnson, 21 Scots Tunes for the Treble Recorder
N:extensive ornamentation omitted, see Johnson's edition
N:I think I've come across this tune from
N:an American source, anybody recognize it?
M:3/4
L:1/8
Q:1/4=80
K:GDor
Ac|d2 d2 cA |f2 e2 d2   |cd cA GA   |F3  G A2|
   d2 fd cA |f3  g a2   |F3  G A/G/F|G4
Ac|d2 d2 c>A|f2 f2 ef   |g2 g2 fg   |a2 ba gf|
   d2 fd cA |fg g2 f/g/a|F3  G A/G/F|G4     |]

X:0
T:Da Scallowa Lasses
G:Shetland reel
M:C|
L:1/8
Q:1/2=104
K:ADor
Aa-af    efed|cdef gagd|Aa-af efed|cABG A2BG |
Aa-af    efed|cdef gagd|Aa-af efed|cABG A2A2||
BE (3EEE c2cA|dedB gfed|ea-ag efed|cABG A2A2:|
This French tune is probably not Scottish in any way, but the Dorian
mode used to be thought of abroad as a characteristic of Scottish
music, as in all the "Scotch" or "Northern" tunes found in 17th
century English song books:

X:0
T:Branle d'Ecosse
S:Arbeau, Orchesography
M:C|
L:1/4
Q:1/2=116
P:AABB
K:GDor
P:A
  G A B G|A B c2 |c B A G|B c d2|[1 d f e d|c B A G:|\
                                 [2 c B A G|A F G2 ||
P:B
|:d2  d e|f g f e|d2  d2 |c B A2|[1 d2  c B|A2  G2 :|\
                                 [2 c B A G|A F G2 |]
These are fairly typical examples from early music, but not from chant:

X:0
T:Worldes Blis
G:English song about how miserable earthly life is, c.1250
S:a music history book (Oxford History of Music?) I read around 1976
N:Pauses added at line ends because that's the way everybody sings it
M:none % sorta 3/4
L:1/4
Q:1/4=120
K:GDor
  G (F/E/ D)    F  G2         A (B/A/   G)     (G/F/)(F/G/)   z2
G A (G    F)    G (F/E/ D)    F (G      A)     (A     G)      z2
G A  B2         A (B/A/ G)    A (B/A/   G)      A    (G/F/)   z2
G A (G    F)    G (F/E/ D)    F (G      A)     (A     G)      z2
B B (c/d/ c)    d (c    B)    c (B      A)      B    (A/G/)   z2
B B  B    c     B (A    G)    A (B/A/   G)      A    (G/F/)   z2
G A  B2         A  G2         A  A     (G/F/)   G  (3(F/E/D/) z2
F G  A2         B  A2         B  A   (3(G/F/G/) A2            z2
  B  c2         B  B   (A/G/) A  B     (A/G/)   A    (G/F/)   z2
G A  A   (G/F/) G (F/E/ D)    F (G/A/ (3B/A/G/) F     G4      |]

X:0
T:Palestine Song
T:Nu alrest leb ich mir werde
C:Walther von der Vogelweide, 1204
G:recruiting song for the Fourth Crusade
S:S.S. Prawer, Penguin Book of Lieder
N:the rhythm is often interpreted differently
M:3/4
L:1/8
Q:1/4=120
K:DDor
   D2 D4   |F2 F2 E2|D2 DE FE|  D2  D2 C2|
   E2 G4   |A2 AG F2|F2 DC D2|(3EFE D2
D2|D2 D4   |F2 F4   |D2 DE FE|  D2  D2 C2|
   E2 G4   |A2 AG F2|F2 DC D2|(3EFE D2
A2|A2 c4   |c2 A2 G2|A2 c2 B2|  A6       |
   A2 cB A2|G2 GF ED|E2 FE D2|  C6       |
   E2 G4   |A2 AG F2|E2 DC D2|(3EFE D4  |]

X:0
T:L'Homme Arme
G:French political song, late 14th century
M:3/4
L:1/4
Q:3/4=60
K:DDor
  D2D|G2G|FE2|D3 | \
  AAD|zAA|AG2|FE2|D3 |AAA|D3|
  d2d|c2c|d2d|A3 | \
  d2d|c2c|d2d|A2   \
d|e2d|cB2|A3 |z3 |
  D2D|G2G|FE2|D3 |\
  AAD|zAA|AG2|FE2|D3|]

X:0
T:Douce dame jolie
G:French love song
C:Guillaume de Machaut, c.1340
M:C|
L:1/4
Q:1/4=150
K:GDor
d|d G F G|B/AG/ AA   |G d d/c   B/|B/AG/ Ad   |
  G G F G|B/AG/ Ac   |B>A G   F   |G3        ||
e|g g f e|d2    d/cB/|d2  e/d/c/B/|AG    Bc   |d3
e|g g f e|d2    d/cB/|d2  e/d/c/B/|AG    A/GF/|G3||
d|d G F G|B/AG/ AA   |G d d/c   B/|B/AG/ Ad   |
  G G F G|B/AG/ Ac   |B>A G   F   |G3        |]
It was always one of the commonest modes for religious music, and not
just in Catholic Europe, as in this 16th century Scottish psalm tune,
which must be a good candidate to be the most-sung tune in Scottish
history:

X:0
T:Martyrs
S:Scottish Psalter 1615
G:psalm tune
M:none
L:1/2
Q:1/2=80
K:DDor
D2 FD AF ED A2 z2||A2 cA Bd A2 z2||
A2 cG AF ED A2 z2||c2 BG BA D4   |]
Dorian has probably been the most common heptatonic mode in folk
music in the whole of Europe throughout its history.  Some
examples:

X:0
T:Viem ja jeden hajicek
G:Slovak song
S:Rudolf Vig, Nepek Dalai, Budapest c.1960
M:4/4
L:1/8
K:DDor
DD AA BAG2|BA       Bc d2 A2|
d2 c2 A2G2|A/G/F/E/ D2 z4   |
FE FG A3 G|A/G/F/E/ D2 z4  |]
The transposed versions of Dorian are:

X:0
T:Dorian (re) Scales
L:1/4
M:10/4
K:BbDor
"^B flat"  B2 cd ef ga b2|b2 ag fe dc B2||
M:10/4
K:FDor
"^F"       F2 GA Bc de f2|f2 ed cB AG F2||
M:10/4
K:CDor
"^C"       C2 DE FG AB c2|c2 BA GF ED C2||
M:10/4
K:GDor
"^G"       G2 AB cd ef g2|g2 fe dc BA G2||
M:10/4
K:DDor
"^D"       D2 EF GA Bc d2|d2 cB AG FE D2||
M:10/4
K:ADor
"^A"       A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:EDor
"^E"       E2 FG AB cd e2|e2 dc BA GF E2||
M:10/4
K:BDor
"^B"       B2 cd ef ga b2|b2 ag fe dc B2||
M:10/4
K:F#Dor
"^F sharp" F2 GA Bc de f2|f2 ed cB AG F2|]
On the chanter, it's the E-final seven-note mode, but is not very
common in pipe music:

X:0
T:The Dorian Scale (E-final) on the Pipe Chanter
M:18/4
L:1/4
K:Hp
e2 fgf e2 dcBAGABcd e2|]

X:0
T:Donald Blue
G:march
S:Scots Guards pipe tune book
M:2/4
L:1/8
Q:1/4=88
K:EDor
   d>B G>B|dB cA|d>B G>B|AB e2 |
   d>B G>B|dB cA|B>A G>B|AB e2:|
   B>B g>e|dB cA|B>B g>e|dB e2 |
[1 B>B g>e|dB cA|B>A G>B|AB e2:|
[2 e>f g>e|dB cA|B>A G>B|AB e2|]
4. The Mixolydian Mode
== ===================
The MIXOLYDIAN mode has semitone 6 as its home note (G in the white-note
scale); interval sequence TTS T TST.  In A, it's AB^cde^fga.  In sol-fa,
it's the so-mode.

X:0
T:The Mixolydian (so) Scale
M:10/4
L:1/4
K:GMix
"_so"G2 "_la"A "_ti"B "_do"c "_re"d "_mi"e "_fa"f "_so"g2 |\
"_so"g2 "_fa"f "_mi"e "_re"d "_do"c "_ti"B "_la"A "_so"G2|]

X:0
T:The Gallowa Hills
M:4/4
L:1/8
Q:1/4=100
K:BMix
FD |B,3   C  D2  EE|F2  B>B F3 \
 E |D2  B,B, B,B,CD|E3   C  A,2
F>F|B,3   C  D3   E|F2  B2  D2 \
CB,|E>D EG   F3   E|C3   B, B,2||
DE |F>F B2   D3   E|F<F B2  F3 \
 D |E2  C2   A,3  C|E2  A>G F2
FD |B,3   C  D3   E|F2  B2  D2 \
CB,|E>D EG   F3   E|C3   B, B,2|]
Mixolydian tunes often make the seventh at the lower end
of the tune's range prominent by using it as a cadence at
the end of a phrase.  This pipe reel version of the same
tune does that more consistently:

X:0
T:Campbell's Farewell to Redcastle
M:2/4
L:1/16
Q:1/4=112
K:AMix
   e2 |A3B  c3d |e2a2 e3d|c2A2 A2Bc|d2B2 G2
   B2 |A3B  c3d |e2a2 e3d|c2BA G2B2|A4   A2:|
   g>f|e2a2 a2gf|e2a2 e3d|c2A2 A2Bc|d2B2 G2
[1 gf |e2a2 a2gf|e2a2 e3d|c2BA G2B2|A4   A2:|
[2 B2 |ABcd cdef|efga e3d|c2BA G2B2|A4   A2|]
This tune completely avoids that cadence.  The mixolydian seventh
occurs only near the top of the range, with the melody descending
after it (in many modal systems it would be considered to be in a
different mode sharing the same pitch set and tonal centre):

X:0
T:Lochaber No More
B:Kerr's Merry Melodies Bk.3, p47
Z:Nigel Gatherer
M:3/4
L:1/8
Q:1/4=90
K:GMix
GA|B2 B2 Bc|B2 A2 Bd|e2 A2   AB |B2 A2
GA|Bd cB AG|E2 D2 GA|B2 G2   GA |G4  :|
GA|B2 B2 Bc|d2 cB AB|G2 g2   ga |a2 g2
GA|B2 B2 Bc|d2 cB AB|G2 g2   ga |g4
de|f2 f2 ed|e4    EG|A2 A2 (3GAB|B2 A2
GA|Bd cB AG|E2 D2 GA|B2 G2   GA |G4  |]

X:0
T:Miss Montgomery
G:strathspey
M:4/4
L:1/8
Q:1/4=120
K:AMix
f|e<Ae>c e<Ag>e|d<Gd>B d<Gf>d|e<Ae>c e<Ag>e|d>Bg>B A<A A:|
f|e>ac>a e>fg>e|d>gB>g d>gf>d|e>ac>a e>fg>e|d>Bg>B A<A A:|

X:0
T:The Tailor and his Shirt
G:jig
S:MacFarlan MS
M:6/8
L:1/8
Q:3/8=120
K:AMix
B>cd ded|g2d B2G|c>de efe|a2e c2A |
B>cd ded|g2d B2G|c>de efe|a2e c2A:|
a2e  c2A|g2d B2G|a2e  f2e|a2e c2A |
gag  gfe|d2d B2G|cde  ece|a2e c2A:|

X:0
T:The High Road to Linton
G:reel
S:Kerr's Merry Melodies v1
N:the old two-part version
M:C|
L:1/8
Q:1/2=112
K:AMix
d|ceef a2ae|f2fe a2ae|ceef a2ae|faec B2A:|
d|ceeg fddf|ecce fBBd|ceeg fddf|ecac B2A:|

X:0
T:Tullochgorum
G:strathspey
M:4/4
L:1/8
Q:1/4=108
K:DMix
G|F>DA>D G>CE>G|F>DA>D F>GA>d|F>DA>D       G>CE>G|F>DA>G F2E||
F|D>dA>B c>CE2 |D>dA>d F>dA>d|D>dA>B       c>CE>F|D>dA>B F2E||
F|D>dA>B c>CE>F|D>dA>B c>de>c|e/d/c/B/ c>A G>CE>F|D>dA>G F2E|]

X:0
T:Elizabeth's Big Coat
G:children's song or reel
S:Kenny Fraser
M:C|
L:1/8
Q:1/2=120
K:AMix
f|edc2 dcBd|cA A/A/A g2fa|edc2 dcBd|egdB A2A:|
B|c2ce dBBd|cAAf     g2fa|c2ce dBBd|egdB A2A:|

X:0
T:Rattling Roaring Willie
G:jig
M:9/8
L:1/8
Q:3/8=120
K:GMix
d|B2G GAG Bde|f2c AFA c2d|\
  B2G GAG Bde|gfg B2c d2e|
  gfg dBG Bde|f2c AFA c2e|\
  dBd e2d Bdg|BGB AFA G2|]
A mixolydian mediaeval carol:

X:0
T:Orientis Partibus
M:6/8
L:1/8
Q:3/8=72
K:DMix
D2E F2D|E2C D3 |\
A2A B2G|A2A F3 |
F2E G2F|E2D F3 |\
A2G F2D|E2C D3||
D2E F2E|D6    |]
Transpositions of mixolydian-mode scales:

X:0
T:Mixolydian (so) Scales
L:1/4
M:10/4
K:EbMix
"^E flat"  E2 FG AB cd e2|e2 dc BA GF E2||
M:10/4
K:BbMix
"^B flat"  B2 cd ef ga b2|b2 ag fe dc B2||
M:10/4
K:FMix
"^F"       F2 GA Bc de f2|f2 ed cB AG F2||
M:10/4
K:CMix
"^C"       C2 DE FG AB c2|c2 BA GF ED C2||
M:10/4
K:GMix
"^G"       G2 AB cd ef g2|g2 fe dc BA G2||
M:10/4
K:DMix
"^D"       D2 EF GA Bc d2|d2 cB AG FE D2||
M:10/4
K:AMix2
"^A"       A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:EMix
"^E"       E2 FG AB cd e2|e2 dc BA GF E2||
M:10/4
K:BMix
"^B"       B2 cd ef ga b2|b2 ag fe dc B2|]
On the chanter, it's the A-final mode, allowing tonal centres at both
ends of the range:

X:0
T:The Mixolydian Scale (A-final) on the Pipe Chanter
M:21/4
L:1/4
K:Hp
A2 Bcdefg a2 gfedcB A2 G A2|]
5. The Minor Mode
== ==============
The MINOR mode (sometimes called the AEOLIAN mode) is less used in
Scottish music than any of the modes above; it occurs rather more
often in the Highlands, but in the Lowlands it usually takes a
different form described later.  Its home note is semitone 8, or A
in the white-note scale; interval sequence TSTT STT.  In A, it's
ABcdefga.  In sol-fa it's the la-mode.

X:0
T:The Minor (la) Scale
M:10/4
L:1/4
K:AMin
"_la"A2 "_ti"B "_do"c "_re"d "_mi"e "_fa"f "_so"g "_la"a2 |\
"_la"a2 "_so"g "_fa"f "_mi"e "_re"d "_do"c "_ti"B "_la"A2|]

X:0
T:O Wha is She that Lo'es Me
T:Morag
G:Gaelic song, later used by Burns
S:G.F. Graham, Popular Songs and Melodies of Scotland
M:C
L:1/8
Q:1/8=100
K:CMin
G   |c>de>c d2 G>G|c>ed>c B>AG>G|
     c>de>f d2 e>c|B>GF>E e2 e>f|g>ed>B c>de||
e   |c>BG>F E>EF>G|A>FG>E C2 e
e/c/|c>BG>F E>DF>G|A>FG>E C2 C |]

X:0
T:Logan Water
G:Lowland ballad tune
M:C
L:1/8
Q:1/4=80
K:GMin
d2|B2AG G3 B|FDCD F4 |B2G2  GBFG|BABc d4 |
   e2dc d2cB|cBAG F3B|GABc  decd|B2AG G2|]

X:0
T:Chi mi na feidh air a bhealach
T:I see the deer in the mountain pass
G:song
S:Angus Fraser Collection
M:6/8
L:1/8
Q:3/8=80
K:DMin
A   |d2D    A2G|F2E D2z/A/|d2D A2G|F2G A2
z/e/|f2e {e}d2c|A2G FGA   |d2D A2G|F2E D2||
A   |D2D    F2G|A2A f2g   |a2g f2e|d2c ABc|
     d2D    A2G|F2E D2z/A/|d2D A2G|F2G A2
z/e/|f2e    d2c|A2G FGA   |d2D A2G|F2E D2|]

X:0
T:Rowing from Islay to Uist
G:rowing song
M:6/8
L:1/8
Q:3/8=88
K:BMin
F|B2B d2e|c2B c2e|B2B f2f|   gfe f2c|
  d2d e2d|c2B c2e|gfe f2c|[1 d2B AB:|\
                          [2 B2c d2||
A|F2F F2E|F2F d2e|c2B A2F|   E2D E2G|
  F2F F2E|F2F d2e|c2B A2c|   B3- B2:|

X:0
T:John Bain's Sister's Wedding
N:originally an 18th century Gaelic song, often used as a jig
M:6/8
L:1/8
K:AMin
e|c2A AAA|agf e2d|c2A AAA|d2c B2d|
  c2A AAA|agf e2d|c2A BGB|A3  A2:|
e|A2B c2c|d2c cBc|d2c Bcd|e2A A2e|
  f2g agf|e2d c2a|c2A BGB|A3  A2:|

X:0
T:The Inverness Fiddler
G:strathspey
N:Named by GS's son George MacLennan; possibly derived
N:from a tune played by A.A. Cameron on the fiddle
C:Pipe Major George S. McLennan
S:Gordon Highlanders Pipe Music Collection volume II
B:NLS Mus.D.s.19
M:C
L:1/8
Q:1/4=112
K:BMin
B2 B>c d>e f>g|a>f e>d c>B A>c|B2 B>c d>e f>g|a>f e>c B2 f2:|
B2 B>c d>e f>d|c>B A>B c>d e>c|B2 B>c d>e f>g|a>f e>c B2 f2:|

X:0
T:John Roy Stuart
G:strathspey
S:Kerr's Merry Melodies book 2
M:C
L:1/8
Q:1/4=124
K:DMin
 f|c>BA>G F>GA>B|c<FA>F       c<FA<f|
   c>BA>G F>GA>F|D<dd>c       d2d  :|
 f|c>df>g a>fg>a|f<c d/c/B/A/ f<cc>f|
[1 c>df>g a>fg>a|d<ag>f       d2d  :|
[2 a>fg>e f>de>c|A<dd>c       d2d  |]

X:0
T:Miss Gordon of Gight
G:reel
C:Isaac Cooper
G:fiddle reel, early 1780s
M:C|
L:1/8
Q:1/2=100
N:often played much slower these days; there's nothing
N:in the original published version to suggest that
K:CMin
G,CEG cgec|BdBG FDB,D|CEGE DFBG|FDB,D C/C/C C2:|
egbg  agfe|defg fdBf |egbg agfe|dBfd  c/c/c c2 |
egbg  agfe|defg fdBf |gfed cdec|BGFD  EC    C2|]
This is a very old example, a chant-like Gaelic harp tune first printed
in the 18th century but possibly 200 years older:

X:0
T:the Terror of Death
S:Daniel Dow, Ancient Scottish Music
T:s eagal leam a mbas
C:by Rorie Dall
M:3/4
L:1/8
Q:1/4=100
K:AMin
d|d>c (d/c/d/e/) f2|eAAA A2|dGGG  G2| cFFF          F2|
  GFEE           E2|DEFG A2|G3   EDC|(C/D/E/F/) A A,3 |
  d>c (d/c/d/e/) f2|adaa a2|gcgg  g2| agff          f2|
  gfee           e2|defg a2|g3   edc|(c/d/e/g/) a A2 ||
A-| AG        A/B/c/B/ A2|GAcA             G2             |(FGAG)           F2|
({F}E2)   ({G}F2)      A2|G2F2             E2             | DA,           D3 E|
   (F/D/E/C/) D3        A|A2   (A/G/F/E/) (D/E/F/G/)      | A2            E2E2|
   (E/F/G/F/) E2       E2|F>GFE          (3D/E/F/ (3G/A/B/| c2            G2G2|
    GAcA               G2|FGAB             c2             | GFEE            E2|
    DEFG               A2|G3              EDC             | C/D/ (3E/G/A/ A,3|]
A familiar hymn tune (possibly mediaeval words, but the tune
can't be traced to before 1853, so it's not as old as it seems):

X:0
T:Veni, Veni, Emmanuel
M:4/4
L:1/4
Q:1/4=120
K:AMin
A|c e e e|d f e d|c3 \
d|e c A c|d B A G|A3
d|d A A B|c c B A|G3 \
c|d e e e|d f e d|c3    ||
g|g3    e|e3    e|d f e d|[M:6/4] c d e c A c|[M:4/4] d B A G|A3 |]
Transpositions of minor-mode scales:

X:0
T:Minor (la) Scales
L:1/4
M:10/4
K:FMin
"^F"       F2 GA Bc de f2|f2 ed cB AG F2||
M:10/4
K:CMin
"^C"       C2 DE FG AB c2|c2 BA GF ED C2||
M:10/4
K:GMin
"^G"       G2 AB cd ef g2|g2 fe dc BA G2||
M:10/4
K:DMin
"^D"       D2 EF GA Bc d2|d2 cB AG FE D2||
M:10/4
K:AMin
"^A"       A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:EMin
"^E"       E2 FG AB cd e2|e2 dc BA GF E2||
M:10/4
K:BMin
"^B"       B2 cd ef ga b2|b2 ag fe dc B2||
M:10/4
K:F#Min
"^F sharp" F2 GA Bc de f2|f2 ed cB AG F2||
M:10/4
K:C#Min
"^C sharp" C2 DE FG AB c2|c2 BA GF ED C2|]
The minor mode is the B-final mode on the pipes.

X:0
T:The Minor Scale (B-final) on the Pipe Chanter
M:20/4
L:1/4
K:AMix
B2 cdefgagfedc B2 AGA B2|]
Pipe tunes that use all seven notes of the minor scale are unusual,
and not many pipe tunes sound like this one, an adaptation of a
Lowland lament from the 18th century, "Frenet Ha":

X:0
T:Dark Lowers the Night
C:P.-M. J. Mackay
S:Scots Guards pipe tune book
G:retreat march
M:3/4
L:1/8
Q:1/4=76
K:BMin
d>c B2 B>c|d>e f2 f2|ga  f2 e>d|cB c4     |
d>c B2 B>c|d>e f2 f2|ga  f2 f>e|dc c<B B2:|
a>g f2 f2 |g2  a2 a2|a>g f2 e>d|cB c4     |
d>c B2 B>c|d>e f2 f2|ga  f2 f>e|dc c<B B2:|
while this one is a pipe adaptation of a Gaelic song adaptation of
a Northumbrian tune:

X:0
T:The Mist-Covered Mountains
T:Chi Mi na Mor-Bheanna
T:Hush, Hush
N:based on the English song "Oh dear what can the matter be"
G:slow march
M:6/8
L:1/8
Q:3/8=50
K:BMin
B3 B3|f2f  f>ec|A3   A3  |c>Bc B>AB|
d3 e3|f>ga c>BA|B>cf e>dc|B3   B3 :|
f3 f3|e>fa f>ec|A2A  e2c |f2f  e>dc|
d3 e3|f>ga c>BA|B>cf e>dc|B3   B3 :|
6. The Phrygian Mode
== =================
The PHRYGIAN mode is the white-note scale starting on E; interval sequence
STTT STT.  In A it's A_Bcdefga.  It is very rare in Scottish music, mainly
occurring in street cries and work songs.  In sol-fa it's the mi-mode.

X:0
T:The Phrygian (mi) Scale
M:10/4
L:1/4
K:EPhr
"_mi"E2 "_fa"F "_so"G "_la"A "_ti"B "_do"c "_re"d "_mi"e2 |\
"_mi"e2 "_re"d "_do"c "_ti"B "_la"A "_so"G "_fa"F "_mi"E2|]
Here are the only examples I can find from Scotland that are not
primitive chants:

X:0
T:The Dhu Hill
S:Kerr's Merry Melodies
G:jig, sometimes played slowly
M:6/8
L:1/8
Q:3/8=104
K:F#Phr
F2A cdc|BAG Bcd|c2c fed|   cBc F3 :|
cBc ABc|dcd B3 |cBc f2f|   cAF F3 :|
f2d dcB|ABG FGA|B2B cBc|[1 d3  A2A:|\
                        [2 dcB ABG|]

X:0
T:Haud Awa Hame
S:Kerr's Merry Melodies
G:jig
M:6/8
L:1/8
K:F#Phr
f|cfg f2e|faf ecA|cfe f2e|cBA f3 |
  cfg f2e|faf ecA|ABA Bcd|cBA f2:|
d|cBA ABA|cBA Bcd|cBA ABc|cBc f3 |
  cBA ABA|cBA Bcd|cfa fed|cBA f2:|
It is fairly common in Spanish music, like this Sephardic song from
Andalusia:

X:0
T:Tres morillas me enamoran
N:15th century Spanish
B:Cancionero Musical, Madrid 1928
M:2/4
L:1/8
Q:1/4=100
K:BPhr
  Be|dB GA|BA GF |E2 EF|G A<B A|B4-   |B2||
  Be|dB GA|Bc B2-|B2 Be|dB   GA|Bc B2-|B2
|:Be|dB GA|BA GF |E2 EF|G A<B A|B4-   |B2:|
This is an example from Giresun, on the Black Sea coast of Turkey:

X:0
T:Karsilama
S:T. Hakki Karahasan, Yoresel Turk Halk Oyunlari, 2003
M:9/8
L:1/8
K:BPhr
BA Bc de ddc|de dc BA B3:|
B2 e2 eg e2d|de dc BA B3:|
Bd cB A2 cBA|GF G2 BA B3 |
Bd cB A2 cBA|GF G2 BA B3:|
This is part of a piece of Turkish art music from the early 20th century:

X:0
T:Kurdilihijazkar Saz Semaisi (intro and refrain)
N:next section is in saba makam, not representable in ABC
C:Tatyos Efendi
N:there are many versions of this on YouTube
M:10/8
L:1/16
Q:5/8=44
K:DPhr
D4  d2 dedc BABc  d4  z2|d2e2g2 f3e  d3c     cBBA B2 |
F3B Ac B3d  cBce  d2c2B2|B3g fe d3c  BABc    d4   z2||
e2d2c2 B3A  GFGA  B4  z2|A2B2d2 c3A  BABG    A4   z2 |
D4  B2 A3G  G>BAG G4  z2|FGABAG FAGF FEED [1 FGABcd :|\
                                          [2 D4   z2|]
And a Lebanese song, originally from a film score, which has become a
nostalgic anthem for Palestinians and other Arab refugees everywhere:

X:0
T:Nassam 'alayna al-Hawa
T:ABCDACDAB
C:Fayruz
M:2/4
L:1/8
Q:1/4=120
P:ABCDACDAB
K:A Phrygian
P:A
GA BA |A4       |GA BA |A4      |cd ec |Bc  dB  |AB   cB  |A4      |
BA GF |E3   F/G/|AG FE |D3  E/F/|GF ED |CB, A,G,|A,B, CB, |A,4    ||
P:B
A2 B2 |A2 G2    |A2 B2 |A2 G2   |A2 B2 |cd  dc  |cB   BA  |A4      |
AG AB |G2 F2    |G2 A2 |FE D2   |GF FE |ED  DC  |CB,  B,A,|A,4    ||
P:C
A4    |A2 D2    |BG AF |G4      |G2 G2 |G2  D2  |AF   GE  |F4      |
EF GF |FE ED    |DE FE |ED DC   |CD ED |DC  CB, |CB,  B,G,|A,4    ||
P:D
E2 E2 |E2 ED    |E2 DC |B,A, A,2|F2 FE |FE  FE  |G2   FE  |DC  B,A,|
G2 G^F|G2 G^F   |G4    |FE   D2 |A2 A2-|A4      |G4       |c4      |
Bc B2 |A4       |A2 A2-|A4      |AG GF |FE  ED  |DC   CB, |CB, A,2|]
This is a folk hymn from Hungary, originally a folk song in
a different mode, but perhaps modified under the influence
of Catholic chant:

X:0
T:Holy Virgin Mary, lovely lily stalk
B:Balint Sarosi, Gypsy Music
M:none
L:1/8
Q:1/4=50
K:EPhr
AA  Bc   BA (AG3)|BA GF      E4 |
AA  Bc   BA (AG) |BA GF      E4 |
ED (AB)  G4      |ED A(A/B/) G4 |
AB (cB) (Ac)     |BA G6         |\
                  BA GF      E4|]
Transpositions of Phrygian mode scales:

X:0
T:Phrygian (mi) Scales
L:1/4
M:10/4
K:CPhr
"^C"       C2 DE FG AB c2|c2 BA GF ED C2||
M:10/4
K:GPhr
"^G"       G2 AB cd ef g2|g2 fe dc BA G2||
M:10/4
K:DPhr
"^D"       D2 EF GA Bc d2|d2 cB AG FE D2||
M:10/4
K:APhr
"^A"       A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:EPhr
"^E"       E2 FG AB cd e2|e2 dc BA GF E2||
M:10/4
K:BPhr
"^B"       B2 cd ef ga b2|b2 ag fe dc B2||
M:10/4
K:F#Phr
"^F sharp" F2 GA Bc de f2|f2 ed cB AG F2||
M:10/4
K:C#Phr
"^C sharp" C2 DE FG AB c2|c2 BA GF ED C2||
M:10/4
K:G#Phr
"^G sharp" G2 AB cd ef g2|g2 fe dc BA G2|]
On the pipe chanter this would be the F mode, but no pipe music uses it.
7. The Lydian and Locrian Modes
== ============================
Two other modes named by theorists are the LYDIAN and LOCRIAN modes (the
white-note scales beginning on F and B respectively).  The Locrian mode
was never used in practice (or even mentioned in theory) in the Middle
Ages, and has no relevance at all to Scottish music - it seems to have been
a 19th century invention by somebody with an engineer's mentality who saw
you could do it on the piano.  The Lydian mode was used in some Gregorian
chant (perhaps less than the written sources suggest, as some of it might
have become major in performance) and occurs in some Scandinavian music.
It has a sort of theoretical existence in Scottish music, as it helps
describe other, much more common, modes.  Its interval pattern is TTTS TTS;
in A it's AB^c^de^f^ga.  In sol-fa it's the fa-mode.

X:0
T:The Lydian (fa) Scale
M:10/4
L:1/4
K:FLyd
"_fa"F2 "_so"G "_la"A "_ti"B "_do"c "_re"d "_mi"e "_fa"f2 |\
"_fa"f2 "_mi"e "_re"d "_do"c "_ti"B "_la"A "_so"G "_fa"F2|]
The next tune is the *only* traditional Scottish Lydian tune I know of
(though its ending suggests E dorian).

X:0
T:The Bob of Fettercairn
G:reel
S:Kerr's MM v1 p24
M:C
L:1/8
Q:1/2=104
K:GLyd
Bc||dBGB dBGB|dBdg f2df|ecAc ecAc|edef gage |
    dBGB dBGB|dBdg f2df|afge fdgB|AABd e2eg||
    dgBg dgBg|dgBg f2df|eaca eaca|edef gage |
    dgBg dgBg|dgBg f2df|afge fdgB|AABd e2eg|]
though it has a relative which seems to be partially derived from it as
the result of a fiddler's memory lapse mixing two tunes up:

X:0
T:The Braes of Glenorchy
G:reel
S:McGlashan, A Collection of Strathspey Reels
N:(pencil note) The Mason's Apron
M:C|
L:1/8
Q:1/2=104
K:GMix
(c|B>A)GA GAGE  |D>EG>A  B2(A>G)| c(AA>B) ABAG | AGAB      c2Ad|
   BGGA   G>AGE |DEGA    B2 AG  | ABcd    e>deg| G/G/G B>A G3 ||
(c|B>G)dG B>Gd>G|BGdG    B2 Gd  |^cAeA   ^fAeA |^cAeA     Tc2Ad|
   BGdG   eGdG  |D>EG>A TB2 AG  | ABcd    edeg | G/G/G BG  G2 |]
This pipe march is possibly Lydian, but the fourth only occurs in
inconspicuous places:

X:0
T:Morair Sim
T:Lord Simon
N:regimental march of the Lovat Scouts, believed to date from 1715
M:2/4
L:1/8
K:GLyd
G>G GB|AG  AB|G>G GB |dB g2 |
G>G GB|AG  AB|e>d B>c|dB g2:|
d>e ge|ae  ge|d>e ge |ae g2 |
d>e ge|ae  gf|e>d B>c|dB g2 |
d>e ge|ae  gf|d>e ge |ae g2 |
d>e ge|a>g fa|e>d B>c|dB g2|]
This mediaeval Latin hymn from the then-Norse culture of Orkney is in
the Lydian mode.  It's famous as one of the earliest known tunes to be
harmonized in thirds.

X:0
T:Hymn to Saint Magnus
T:Nobilis, humilis
S:Davidson & Apel, Historical Anthology of Music
M:C
L:1/4
Q:1/4=84
V:1
V:2
K:FLyd
[V:1] A c B2    |A c  B2  |A c B    d|A c     B2   |
[V:2] F A G2    |F A  G2  |F A G    B|F A     G2   |
%
[V:1] A c B2    |A c  B2  |A c B    d|c d/e/ (e d)||
[V:2] F A G2    |F A  G2  |F A G    B|A c    (c d)||
%
[V:1] e c B c   |A F (G A)|G A A    G|F3        z  |
[V:2] c A G A   |F F (E F)|G F E/D/ E|F3        z  |
%
[V:1] A c c B/c/|A F (G A)|G A A    G|F4          |]
[V:2] F A A G/A/|F F (E F)|G F E/D/ E|F4          |]
Lydian mode would be the G-mode on the pipes, but it's impractical; the G's
are not tuned so as to have any sort of reasonable harmonic relationship
with other notes on the chanter, and are not even exactly an octave apart,
so the G-mode is only used for a few desperate efforts at arranging non-pipe
music which is actually in the major with an essential melody note above the
octave.  Locrian mode would be the C-final mode, but the C on the chanter is
the most strangely tuned of all, with no other note having any detectable
harmonic relationship to it, so even if the Locrian mode had any musical
reality in Scottish music, the Highland pipes couldn't play it.
This Bosnian tune may just possibly be considered as Locrian, apart from
the sixth (D) occasionally being sharpened:

X:0
T:U lijepom starom gradu Visegradu
S:Huws Jones & Velagic, Sevdah: Traditional Music from Bosnia, 1997
M:2/4
L:1/8
Q:1/4=104
K:F#Loc
P:Intro
{D^D}EB     c/B/A/G/|   FG    A2   |\
     B,A    B/A/G/F/|   EE/F/ G>B, |
     E^D/E/ FE/F/   |   GF/G/ AG/F/|\
     AG/F/  EF/G/   |[1 F2    z2  :|\
                     [2 F4-        |F2 z2||
P:Verse
EB BB|c2    B2|[M:3/4] AG  GA GA/G/|[M:2/4] F4-|F2z2|
EB BB|c2    B2|[M:3/4] A>B cd c2   |[M:2/4] B4-|B2z2|
EB BB|c2    B2|[M:3/4] AG  GA GA/G/|[M:2/4] F4-|F2z2|
AA AA|B/A/G G2|[M:3/4] GA  AG F2   |[M:2/4] F4-|F2z2|
AA AA|B/A/G G2|[M:3/4] GA  AG F2   |[M:2/4] F4-|F4 |]

X:0
T:Lydian (fa) Scales
L:1/4
M:10/4
K:DbLyd
"^D flat"  D2 EF GA Bc d2|d2 cB AG FE D2||
M:10/4
K:AbLyd
"^A flat"  A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:EbLyd
"^E flat"  E2 FG AB cd e2|e2 dc BA GF E2||
M:10/4
K:BbLyd
"^B flat"  B2 cd ef ga b2|b2 ag fe dc B2||
M:10/4
K:FLyd
"^F"       F2 GA Bc de f2|f2 ed cB AG F2||
M:10/4
K:CLyd
"^C"       C2 DE FG AB c2|c2 BA GF ED C2||
M:10/4
K:GLyd
"^G"       G2 AB cd ef g2|g2 fe dc BA G2||
M:10/4
K:DLyd
"^D"       D2 EF GA Bc d2|d2 cB AG FE D2||
M:10/4
K:ALyd
"^A"       A2 Bc de fg a2|a2 gf ed cB A2|]
8. Summary of the Heptatonic Modes
== ===============================
It may help to hear all these modes together, sharing a common tonal
centre.  Listen for which note changes on each line.

X:0
T:Heptatonic Modes on A
L:1/4
M:10/4
K:ALyd
"^Lydian"     A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:A
"^Major"      A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:AMix
"^Mixolydian" A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:ADor
"^Dorian"     A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:AMin
"^Minor"      A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:APhr
"^Phrygian"   A2 Bc de fg a2|a2 gf ed cB A2|]
=============================================================================
==  (c) Jack Campin          http://www.campin.me.uk/        October 2016  ==
==        11 Third Street, Newtongrange, Midlothian EH22 4PU, Scotland     ==
==                                                                         ==
==              these pages: http://tinyurl.com/scottishmodes              ==
=============================================================================


[P=get.cgi V=1/1 B=0 scale=0.60 512x512 ]
filesizedescription
Coll_4779.log 73094 Log file, useful mostly for debugging
Find_47797.log 1431 Log file, useful mostly for debugging
Form_47790.log 760 Log file, useful mostly for debugging
Form_47796.log 782 Log file, useful mostly for debugging
Tune-4779-Modes-hepta.abc 45467 ABC music file with the extracted tune(s)
Tune-4779-Modes-hepta.txt 45467 Plain-text file with the extracted tune(s)
Tune-4779-get.log 54648 Log file, useful mostly for debugging
Tune-47794-get.log 4057 Log file, useful mostly for debugging
Tune-47796-get.log 3244 Log file, useful mostly for debugging
Tune-47799-WindThatShakesTheBarley.abc 384 ABC music file with the extracted tune(s)
Tune-47799-WindThatShakesTheBarley.txt 384 Plain-text file with the extracted tune(s)
Tune-47799-get.log 3597 Log file, useful mostly for debugging
These files should be available for 24 hours.