The Inverness Gathering march

Early notations can be found in "The Skye Collection" & "The Inverness Collection". Here are some possible alternate ways with it:

Part 4, an alternate take by someone else:
(3AAA a2 (3AAA a2 | (3AAA a>g e2 d>B | (3GGG g2 (3GGG g2 | (3GGG g>e d2 B>G |
(3AAA a2 (3AAA a2 | (3AAA a>f e2 d<g | e<d>B>d G>dB<d | e2 (3AAA A2 :|

Some folks also play this tune as AABBCC instead of as given here AABBAACC…

K: D Mix (#)
|: A>F |
G<FE>F D>E (3FED | d2 A2 A2 (3GAB | c2 G<E C>DE>G | c2 G2 G2 ~

K: E Mix (###)
|: B<G |
A>GF>G E>F (3GFE | e2 B2 B3 c | d2 A>F D>EF>A | d2 A>G A2 ~

https://thesession.org/tunes/2126

NOTE of variance ~ the ‘Skye’ transcript for this tune is just a copy from and credited to the earlier ‘Inverness Collection’, neither feature the notation of a ‘snap’ in this tune. The melody just naturally dragged them out of me… Also, as I’ve given this as AABBAACC, I took that opportunity for notate ‘variations’. I’m sure you’ll find your own way with it and your preferred key. The key given for this full transcription is in agreement with the earlier collections, but I am quite fond of it burling away in D Mix…

Parts 3 and 4 are variations composed by James Scott Skinner
Skinner describes this as a ‘Pipe Quickstep’. It is played by Scottish Fiddle Orchestras etc. as a Pipe March.
I’ve never heard it described as a Barn Dance before.

There isn’t a ‘MARCH’ section on this site or a ‘QUICKSTEP’ section… Marches come in many time signatures, so, 4/4, it was placed here, also because the type of couple dances danced to marches are related and similar to those danced for Schottisches/Barndances/Germans ~ etc… Additionally, some of us are making a practice of putting ‘march’ in some form in the ‘alternate title’ section, so anyone who puts in a general search for ‘march’ will end up with a varried list of tunes and time signatures to choose from.

If you’d like to try this, click on ‘Tunes’ then the ‘Search’ tab, now just type in ‘march’, but leave the drop down menus as is = "All Tunes" and "All Keys". If you want to check another category out, try ‘highland’ or ‘fling’, just for a lark…

😉

Oh yes, part 3 & 1 are actually one in the same, the variations given in 3 are courtesy of yours truly…deciding not to just copy the same thing over again…

‘Oh yes, part 3 & 1 are actually one in the same, the variations given in 3 are courtesy of yours truly…deciding not to just copy the same thing over again…’ wrong!
No the parts 1 and 3 are different so dunno where you got the info from..

I can look it out but this 3rd part is wrong, I learnt this from Donald Riddle a long time ago, and whilst this is close-ish it aint right..! if i figure out how to post a tune here i will do it. Gregor

Whatever… 😛 "I’m sure you’ll find your own way with it"

If you actually have a source for your particular way with it, or Donald Riddle’s, and you need help figuring out the ABCs for it, there are plenty of folk on site here that would be willing to help, including myself. However, the idea that any one source or person has the ‘only’ way a tune should be played, is silly… As already said, I’ve given it one way, there are endless other possibilities. But, at least I have given respected references for it as well, some historic ties/roots…

‘the idea that any one source or person has the ‘only’ way a tune should be played, is silly…’
Well actually no.. its not ‘silly’ just making up parts is.. people come on here and try to get the real tune.. and thats what they should get. There are no other ‘possibilities’ that are correct for this tune, its situations like this where the tradition gets diluted and invariably lost.. Thank goodness for players like Donald and Hector who kept the tradition alive by staying true to the tunes AND the sources..

A bit rough as its my first time writing in ABC.. but this is the correct 3rd part of the PIPE MARCH
The Inverness Gathering.

Hi Greg. I’ve come across several third parts of this tune in published pipe and fiddle collections. E.g. the one in Kerr’s Merry Melodies Book 1 is quite different from the Scott Skinner setting. Jimmy Shand’s third part appears to be based on Skinner’s 4th part. Speaking of Skinner, his version is subtely different to yours, and the way Duncan Chisholm, Bruce MacGregor and Iain MacFarlane play it (as you know, all students of Donald Riddle) again is slightly different from the way you’ve written it out.

All this is not to prove that you’re wrong, but to make a plea for a little flexibility. You are in possibly a unique position having been taught by two of the giants of Scottish fiddling, and we’d love your insight, opinions and experiences, but rapping fingers with the bow is hopefully a thing of the past.

These two ways with this part have been adjusted slightly for ease of comparison, with minor corrections to gregfiddles transcription (please consider adding a complete one, which would be very welcome and appreciated)…

X: 2 first, from historic sources, for connection and comparison, and predating Donald & Hector ~ part of having made this contribution in a traditionally open ended way, ‘freedom of choice and expression’ ~

|: e>c |\
d>cB>c A>Bc>A | .a2 .e2 e2 (3def | .g2 BA G2 (3BAG | .g2 .d2 d2 e>c |
d>cB>c A>Bc>A | .a2 .e2 e2 a2 | g>ed>B G>Bd>B | .e2 .A2 A2 :|

gregfiddles dogma, the kind of starch I’m not particularly fond of, though having some understanding and sympathy for, and always interested in the ways of others ~

|: e>c |\
d>cB>c A>Bc>A | a>ga>f e>aAa | .g2 BA G2 (3BAG | .g2 .d2 d2 (e>c) |
d>cB>c A>Bc>A | a>Aa>f e>aAa | g>ed>B G>Bd>B | .e2 .A2 A2 :|

&, despite minor differences, clearly, in my mind anyway, connected…

My main influences and connections regarding all this, especially from the heart, are Cape Breton and the Shetlands, while my appreciations are much wider, including having caught a few listens of your own way with the bow gregfiddles…

I’ve recently been playing this version:

https://m.youtube.com/watch?v=P64rY9dFgao

play video

Love the tone off this box