Difference between revisions of "Nether Lorn Canntaireachd"

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[[foaf:name::Nether Lorn Canntaireachd]] is the name for the written system of vocables used in [[Colin Campbell]]'s manuscripts ([[C1|Vol. I]] and [[C2|Vol. II]]).<ref>''Canntaireachd and Colin Campbell's Verbal Notation'', [[Frans Buismann]], ''[[Piping Times]]'', Vol. 50 No. 3, December 1997</ref>
 
[[foaf:name::Nether Lorn Canntaireachd]] is the name for the written system of vocables used in [[Colin Campbell]]'s manuscripts ([[C1|Vol. I]] and [[C2|Vol. II]]).<ref>''Canntaireachd and Colin Campbell's Verbal Notation'', [[Frans Buismann]], ''[[Piping Times]]'', Vol. 50 No. 3, December 1997</ref>
<ref>''The Campbell Canntaireachd Notation'', [[Roderick D. Cannon]], 2000 [[seeAlso::http://www.piobaireachd.co.uk/wp-content/uploads/2012/08/cambellcanntaireachdexplanatrion2000version.pdf]]</ref> Broadly, it indicates the pitch of notes and decorations along with phrasing, but there is no explicit way to express duration. In this sense it is ambiguous as a musical notation and it has been suggested that its purpose is more as an ''aide-mémoire'' than a full system of musical notation.
+
<ref>''The Campbell Canntaireachd Notation'', [[Roderick D. Cannon]], 2000, [[seeAlso::http://www.piobaireachd.co.uk/wp-content/uploads/2012/08/cambellcanntaireachdexplanatrion2000version.pdf]]</ref> Broadly, it indicates the pitch of notes and decorations along with phrasing, but there is no explicit way to express duration. In this sense it is ambiguous as a musical notation and it has been suggested that its purpose is more as an ''aide-mémoire'' than a full system of musical notation.
  
Generally, pitches are indicated by vowels and grace-notes by consonant prefixes, but there are exceptions to this rule. B (''o'') and C (''ho''), for example are distinguished by the preceding consonant, or lack thereof. Different representations of a given pitch are also used depending on the position in a word. For example, both ''en'' and ''in''. In this way the system is overspecified in terms of pitch, since there are multiple equivalent symbols for some musical constructs.
+
Generally, pitches are indicated by vowels and grace-notes by consonant prefixes, but there are exceptions to this rule. B (''o'') and C (''ho''), for example are distinguished by the preceding consonant, or lack thereof. Different representations of a given pitch are also used depending on the position in a word. For example, both ''en'' and ''in''. Some symbols can represent different musical constructs, such as ''he'' which can be either a plain F or an F with a G grace note. Such ambiguities usually have only a small musical effect but nevertheless the system manages to be both is overspecified and ambiguous in terms of pitch.
  
 
Phrasing can be indicated by forming words out of several vocables and in Campbell's manuscripts punctuation marks, in particular the comma, is used to further indicate longer phrases. It has been suggested<ref>citation needed</ref> that the spacing between words is significant in some pieces but evidence for this is inconclusive. There is no mechanism to indicate note duration and in this way the system is ambiguous in terms of rhythm: usually there are several musically-reasonable choices for a given phrase.
 
Phrasing can be indicated by forming words out of several vocables and in Campbell's manuscripts punctuation marks, in particular the comma, is used to further indicate longer phrases. It has been suggested<ref>citation needed</ref> that the spacing between words is significant in some pieces but evidence for this is inconclusive. There is no mechanism to indicate note duration and in this way the system is ambiguous in terms of rhythm: usually there are several musically-reasonable choices for a given phrase.
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<<
 
<<
 
\new Voice = "notes" {
 
\new Voice = "notes" {
  \time 9/4
 
 
   \key d \major
 
   \key d \major
 +
  \omit Staff.BarLine
 
   \omit Staff.TimeSignature
 
   \omit Staff.TimeSignature
 +
  \override Lyrics.LyricSpace.minimum-distance = #3.0
 
   \relative g' { \stemDown g4 \stemDown a b cis d e fis g a }
 
   \relative g' { \stemDown g4 \stemDown a b cis d e fis g a }
 
}
 
}
 
\new Lyrics \lyricsto "notes" {
 
\new Lyrics \lyricsto "notes" {
   em en o ho a e ve di I
+
   em en o ho a e he di I
 
}
 
}
 
\new Lyrics \lyricsto "notes" {
 
\new Lyrics \lyricsto "notes" {
Line 24: Line 25:
 
\new Lyrics \lyricsto "notes" {
 
\new Lyrics \lyricsto "notes" {
 
   m n \skip 1 \skip 1 ba \skip 1 ve hi
 
   m n \skip 1 \skip 1 ba \skip 1 ve hi
 +
}
 +
>>
 +
</score>
 +
 +
== Simple grace notes ==
 +
High-G grace notes are represented as follows. As usual, a high-A grace-note, instead of high-G, would be played on a note that follows a high-G.
 +
 +
<score>
 +
<<
 +
\new Voice = "notes" {
 +
  \key d \major
 +
  \omit Staff.BarLine
 +
  \omit Staff.Clef
 +
  \omit Staff.KeySignature
 +
  \omit Staff.TimeSignature
 +
  \override Lyrics.LyricSpace.minimum-distance = #3.0
 +
  \grace {g''32} \stemDown g'4
 +
  \grace {g''32} \stemDown a'4
 +
  \grace {g''32} b'4
 +
  \grace {g''32} cis''4
 +
  \grace {g''32} d''4
 +
  \grace {g''32} e''4
 +
  \grace {g''32} fis''4
 +
  \grace {a''32} g''4
 +
}
 +
\new Lyrics \lyricsto "notes" {
 +
  him hin hio ho ha che he hi
 +
}
 +
\new Lyrics \lyricsto "notes" {
 +
  \skip 1 \skip 1 \skip 1 \skip 1 \skip 1 \skip 1 \skip 1 chi
 +
}
 +
>>
 +
</score>
 +
 +
The notation for D and E grace notes is,
 +
 +
<score>
 +
<<
 +
\new Voice = "notes" {
 +
  \time 5/4
 +
  \key d \major
 +
  \omit Staff.BarLine
 +
  \omit Staff.Clef
 +
  \omit Staff.KeySignature
 +
  \omit Staff.TimeSignature
 +
  \override Lyrics.LyricSpace.minimum-distance = #3.0
 +
  \grace {e''32} \stemDown g'4
 +
  \grace {e''32} \stemDown a'4
 +
  \grace {e''32} b'4
 +
  \grace {e''32} cis''4
 +
  \grace {e''32} d''4
 +
}
 +
\new Lyrics \lyricsto "notes" {
 +
  em en eo eo ea
 +
}
 +
\new Lyrics \lyricsto "notes" { - }
 +
>>
 +
</score>
 +
<score>
 +
<<
 +
\new Voice = "notes" {
 +
  \time 4/4
 +
  \key d \major
 +
  \omit Staff.BarLine
 +
  \omit Staff.Clef
 +
  \omit Staff.KeySignature
 +
  \omit Staff.TimeSignature
 +
  \override Lyrics.LyricSpace.minimum-distance = #3.0
 +
  \grace {d''32} \stemDown g'4
 +
  \grace {d''32} \stemDown a'4
 +
  \grace {d''32} b'4
 +
  \grace {d''32} cis''4
 +
}
 +
\new Lyrics \lyricsto "notes" {
 +
  dam dan to do
 +
}
 +
\new Lyrics \lyricsto "notes" {
 +
  bam
 
}
 
}
 
>>
 
>>

Latest revision as of 10:34, 29 June 2017

Nether Lorn Canntaireachd is the name for the written system of vocables used in Colin Campbell's manuscripts (Vol. I and Vol. II).[1] [2] Broadly, it indicates the pitch of notes and decorations along with phrasing, but there is no explicit way to express duration. In this sense it is ambiguous as a musical notation and it has been suggested that its purpose is more as an aide-mémoire than a full system of musical notation.

Generally, pitches are indicated by vowels and grace-notes by consonant prefixes, but there are exceptions to this rule. B (o) and C (ho), for example are distinguished by the preceding consonant, or lack thereof. Different representations of a given pitch are also used depending on the position in a word. For example, both en and in. Some symbols can represent different musical constructs, such as he which can be either a plain F or an F with a G grace note. Such ambiguities usually have only a small musical effect but nevertheless the system manages to be both is overspecified and ambiguous in terms of pitch.

Phrasing can be indicated by forming words out of several vocables and in Campbell's manuscripts punctuation marks, in particular the comma, is used to further indicate longer phrases. It has been suggested[3] that the spacing between words is significant in some pieces but evidence for this is inconclusive. There is no mechanism to indicate note duration and in this way the system is ambiguous in terms of rhythm: usually there are several musically-reasonable choices for a given phrase.

The correspondence to staff notation presented below is drawn mainly from Cannon's paper[4] as well as the original source material.

Unadorned pitches


<<
\new Voice = "notes" {
  \key d \major
  \omit Staff.BarLine
  \omit Staff.TimeSignature
  \override Lyrics.LyricSpace.minimum-distance = #3.0
  \relative g' { \stemDown g4 \stemDown a b cis d e fis g a }
}
\new Lyrics \lyricsto "notes" {
  em en o ho a e he di I
}
\new Lyrics \lyricsto "notes" {
  \skip 1 in \skip 1 \skip 1 da de dhe vi
}
\new Lyrics \lyricsto "notes" {
  m n \skip 1 \skip 1 ba \skip 1 ve hi
}
>>

Simple grace notes

High-G grace notes are represented as follows. As usual, a high-A grace-note, instead of high-G, would be played on a note that follows a high-G.


<<
\new Voice = "notes" {
  \key d \major
  \omit Staff.BarLine
  \omit Staff.Clef
  \omit Staff.KeySignature
  \omit Staff.TimeSignature
  \override Lyrics.LyricSpace.minimum-distance = #3.0
  \grace {g''32} \stemDown g'4 
  \grace {g''32} \stemDown a'4
  \grace {g''32} b'4
  \grace {g''32} cis''4
  \grace {g''32} d''4
  \grace {g''32} e''4
  \grace {g''32} fis''4
  \grace {a''32} g''4
}
\new Lyrics \lyricsto "notes" {
  him hin hio ho ha che he hi
}
\new Lyrics \lyricsto "notes" {
  \skip 1 \skip 1 \skip 1 \skip 1 \skip 1 \skip 1 \skip 1 chi
}
>>

The notation for D and E grace notes is,


<<
\new Voice = "notes" {
  \time 5/4
  \key d \major
  \omit Staff.BarLine
  \omit Staff.Clef
  \omit Staff.KeySignature
  \omit Staff.TimeSignature
  \override Lyrics.LyricSpace.minimum-distance = #3.0
  \grace {e''32} \stemDown g'4 
  \grace {e''32} \stemDown a'4
  \grace {e''32} b'4
  \grace {e''32} cis''4
  \grace {e''32} d''4
}
\new Lyrics \lyricsto "notes" {
  em en eo eo ea
}
\new Lyrics \lyricsto "notes" { - }
>>

<<
\new Voice = "notes" {
  \time 4/4
  \key d \major
  \omit Staff.BarLine
  \omit Staff.Clef
  \omit Staff.KeySignature
  \omit Staff.TimeSignature
  \override Lyrics.LyricSpace.minimum-distance = #3.0
  \grace {d''32} \stemDown g'4 
  \grace {d''32} \stemDown a'4
  \grace {d''32} b'4
  \grace {d''32} cis''4
}
\new Lyrics \lyricsto "notes" {
  dam dan to do
}
\new Lyrics \lyricsto "notes" {
  bam
}
>>

References

  1. Canntaireachd and Colin Campbell's Verbal Notation, Frans Buismann, Piping Times, Vol. 50 No. 3, December 1997
  2. The Campbell Canntaireachd Notation, Roderick D. Cannon, 2000, http://www.piobaireachd.co.uk/wp-content/uploads/2012/08/cambellcanntaireachdexplanatrion2000version.pdf
  3. citation needed
  4. Cannon, 2000