Teach Yourself Bagpipes by Lindsay Davidson - Intermediate Finger Exercises and RSPBA MAP Tunesbringing quality 'piping instruction to you for free
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|I’ll Gang Nae Mair Tae Yon Toon|
Link to RSPBA (Royal Scottish Pipe Band Association) source
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Five discussion points
1 Rhythmical contrast is tricky in this tune. getting the dotted semiquavers (16ths) and demisemiquavers (32nd notes) to work in good proportion and contrasting that with the simple quavers (8ths) requires a change of thinking. If you are a native speaker of English you might want to say "bouncy ta-ti ta". The 'bouncy' is like the first two notes in the tune, and if you make it bouncy to match the word bouncy then you are going in a good direction.
2 Bar 2 - getting the G gracenote to close on the beat in the C doubling after a relatively long E needs to be worked on carefully.
3 Bar 3 the G gracenote can take half of the 32nd note (D) in order to close on the beat in the C doubling in a solo interpretation but the choice taken here is to make it shorter and thus reduce the amount of rhythmical contrast in any one given tune, where this can be done without artistic compromise. This helps unify your band's style more quickly.
4 Birl in bar 9 - you need to add low A to this birl (as opposed to what is notated), and this first low A is best placed on the beat. Putting the beat here will mean the whole band can control and play the birl together, thus creating a point of excellence to stand out for the judges.
5 Bar 15 - B doubling using a strike - the beat lands on the first B.. Doing this avoids a sense of rushing at the end. Of course an alternative view is equally valid here - that the beat should be when the strike comes up, but this will create the effect of rushing towards the end, or at least, it will not safeguard against this happening.