We’ve just had a meeting this morning with Josh Dickson at the Royal Conservatoire of Scotland about how we can get involved with the BA Scottish Music course over the next couple of years. It will be a really valuable way to test out some of our theoretical models with practising musicians, in the hope that we’ll see ways that the historical material in the sources might have an influence on what today’s players can choose to do.
Then Karen, Barnaby and I repaired to the window of the RCS café to thrash out some terminology that we can share between pipe and fiddle music. Philip Tagg’s recent explorations of tonal terminology have influenced us to the point that for two out of the three of us, the phrase tertial tetrad isn’t weird any more, it’s just helpfully precise (it’s a four-part chord built with a stack of thirds), but other phrases came and went as our conversation became more animated, and occasionally louder. Strains for parts or sections of a tune was abandoned in favour of using arithmetical fractions such as the first half or the third eighth; modal vocabulary became palette; tone, note and pitch were all assigned usages and abusages; hierarchy, focus and signal developed specific musical meanings, and blas and tasto wandered in from Gaelic and Italian respectively. Joseph MacDonald used taste as a synonym for key in his Compleat Theory of the Scots Highland Bagpipe (c.1760), which sounds like a borrowing from Italian to me, having spent many years reading basslines which include the marking tasto solo, which asks the harpsichord player to play only a single key at a time.