of age, and given a period of chanter practice of from six to nine
months; at the same time it is necessary to see that, from the very
start, they are able to read music at sight. Then, towards the end
of nine months tuition in practice, theory should be taught; then
they make more progress than they would at the very beginning of
their training. Theory enables the piper to put expression into
his playing, and, in his turn, he can in time take his place as a
qualified instructor of piping.
One thing of great importance in piping and the training of young
pipers is the rate of speed at which they play. The regimental
regulation pace is 120 paces to the minute. This may be all very well
with a brass band, where the performer with his 120 paces to the
minute has a curtailed, nipped, or broken step, but in pipe music
it is far different. Any one who has a knowledge of the Highland
bagpipe and its music knows that piping at the rate of 120 paces to
the minute is not pipe music at all. The great majority of marches
for the pipes are written in two-four and six-eight time. Two-four
time has a crotchet beat and six-eight has a dotted crotchet beat.
The beat in six-eight being a dotted crotchet is of longer duration
than the two-four or crochet beat. When both are played at 120 paces
to the minute they are more or less equalized and spoiled. Time must
be given to the beat note in six-eight to distinguish it from the
two-four beat; hence, 100 to 105 paces to the minute in two-four time
is good marching, and 90 to 95 paces to the minute in six-eight time
gives the proper swinging pace which the men in a Highland regiment
like. To adopt such a suggestion would give time and expression
to pipe music, differentiate the pace in one time signature from
another, and, above all, would tend to give more time for correct
fingering and clear, distinct playing. A young piper who has only
been playing the bagpipes for about six months is very often spoiled
for life as a performer when he begins, at that stage, to play at 120
paces to the minute. He is unable to get the fingering in in time.
What he cannot find time to finger is left out altogether, and then,
worst of all, he becomes a slovenly and incorrect performer.
The teaching of piping has always been placed on an unequal footing
as compared with brass bands in His Majesty's forces, and one wonders
how long it is to be allowed to remain so. It is absolutely certain
that a Military School of Piping would be a blessing to regimental
pipe bands, and the standard of performance could be raised to the
highest point of perfection. In times of peace many people single
out the brass band as the apple of their eye in the garden of music,
so to speak, but let us Highlanders mark time and see what the great
Highland bagpipe has done in war.
Many pipers have gone over the parapet playing the bagpipes and have
won laurels which can never be forgotten. Hundreds of pipers have
fallen in the great war to sleep their last sleep in the graves of
heroes, after sounding the triumphant charge. The bagpipe has lived
in war in its majestic power and splendour, and in peace it should
not be allowed to die.
In war there is, to our Highland regiments, no music like that of the
great Highland bagpipe. Its notes inspire the men to victory, and
the glory of the results of the music of the _Piob Mhor_ with its
fluttering pennons has left a landmark in the history of the world's
war.
The great Highland bagpipe is the hallmark of a race whose
achievements are second to none in the world. It has been played in
every great battlefield in the history of our nation, and the heroic
deeds done by Highland regiments inspired by its music deserve to be
perpetuated in a lasting memorial.
THE SPIRIT OF THE MACCRIMMONS
BY FRED T. MACLEOD, F.S.A. (SCOT.)
It was the year 1626, a memorable year in the history of the Western
Isles of Scotland, and singularly eventful in the history of Skye and
of the Dunvegan family. Sir Rory Mor MacLeod, warrior and statesman,
patron of Art, of Music and of Letters, and dispenser of lavish
hospitality to rich and poor alike, had died in the Chanonry of
Ross an event "greatly deplored among the Gael at that time." The
ancient sea-gate of Dunvegan Castle was opened, and into a waiting
boat stepped Patrick Mor MacCrimmon, the dead chief's hereditary
piper, the representative of a line of pipers almost as long as the
line of MacLeod chiefs. Swiftly, yet silently, the piper was rowed
across Loch Dunvegan to Boreraig. MacCrimmon stepped ashore and took
from his servant the instrument which had on many occasions cheered
his beloved master. His heart could no longer contain its pent-up
emotion, and his frame shook with a violent outburst of grief. Then,
with head erect and firm step, he walked the remaining distance to
the renowned College of Pipers, the home of his family for many
generations. The fingers of a master player lingered for a moment
lovingly on the chanter. In swift succession there fell upon the ears
of his pupils, themselves no mean players of ancient piobaireachd,
the arresting, appealing, plaintive notes of "Cumha Ruaridh Mhoir,"
"Lament to Rory Mor."
To-day, cattle browse upon the site of the MacCrimmon College,
within whose walls instruction on the _Piob mhor_ had been given
by members of the MacCrimmon family to countless students from all
parts. Thither too had come the best pipers of Scotland to receive
the finishing touches to a piping education well-nigh perfect in
itself, including representatives of the three well-known piping
families, MacArthur, Mackay and Campbell. The music of the pipes is
now seldom, if ever, heard on the plateau upon which in former days
many pipers were wont to assemble. Sassenach inhibitory legislation
followed by the unsympathetic action of the Highland clergy combined
in an attempt to stifle for ever the majestic notes of ancient
piobaireachd, and the free, independent, social temperament of the
Children of the Island. But, while the grass grows green on the spot
where the college stood, the memory of these master musicians is
enshrined in the ancient traditions of the island, in the MacCrimmon
compositions preserved and played to-day, and in the names of places
in the vicinity of the MacCrimmon homeland. The ancient castle,
dating from the ninth century, is occupied to-day by Norman Magnus
MacLeod, the 23rd chief of his line, as it has been continuously
occupied by his forefathers, and among the relics carefully preserved
is an ancient set of MacCrimmon pipes. One can still enjoy the
shelter of "Slochd nam Piobairean"[24] and he who desires to do so
can honour the dust of several members of the MacCrimmon family in
the little burying-ground at Kilmuir, overlooking Dunvegan Loch. Nay
more, one may converse with living descendants of the family within
a stone's throw of the home of their forefathers. The fame of the
MacCrimmons will never die so long as these features or the memory of
them remains, and, when these are no longer remembered, the honour
due to these Kings of Pipers will be enshrined in the music they have
left behind them.
It is impossible in this article to do more than touch the fringe of
an almost illimitable subject. There are many controversial points
into which it is not desirable to enter, _e.g._, the origin of the
family name, the exact period during which the MacCrimmons held their
hereditary office, and the "Cainntaireachd" invented and used by
them. The old papers in the castle are singularly silent in regard
to the history of men so closely allied with the fortunes of the
Dunvegan family. The only two documents among these papers, so far as
I am aware, which bear upon the subject, are a lease of the lands of
Galtrigal in Skye to the MacCrimmons in virtue of their hereditary
office, and a rent-roll of the latter years of the eighteenth
century, which contains entries of payments made by MacLeod
tenants, in the form of a tax to assist a member of the MacCrimmon
family in his declining years. But while contemporary documentary
evidence is practically unavailable, tradition has preserved a great
deal of interesting information. While it may not be advisable
to accept as accurate many oral traditions of a country, we are
entitled to rely to a considerable extent upon, and to accept as
generally trustworthy, Highland oral tradition, which every student
of Highland history knows was the common mode of preserving what
otherwise would have been long ago irretrievably lost. The office of
"Seanachaidh"[25] was recognized and honoured in leading Highland
families and, subject to the legitimate criticism that a Seanachaidh
was apt unduly to extol the virtues of those whose praises he sang
and to decry the virtues of rival families, we are entitled to draw
upon this source of information.
The first published account of the family known to me is Angus
MacKay's collection of _Ancient Piobaireachd_, or Highland Pipe
Music, published in 1838, which forms the basis of most, if not
all, the subsequent published references to the family. Dr. Norman
MacLeod's account (in Gaelic) of the MacCrimmons must also be
mentioned, and of more modern date Dr. Fraser's interesting book
on the _Highland Bagpipe_. The Rev. Archibald Clerk contributed
an article worthy of notice in the _New Statistical Account of
Scotland_, and Fionn's _Martial Music of the Gael_ contains some
interesting notes.
I regard, however, as the most authoritative contribution a series of
Gaelic articles contributed to the _Celtic Monthly_ by the Rev. Neil
Ross of Buccleuch Parish Church, Edinburgh. Mr. Ross is one of our
ablest Gaelic scholars, and, having been born and brought up in the
heart of the MacCrimmon country, he has had the peculiar advantage of
obtaining the local traditions of the family at first hand, from old
people practically all of whom have passed away.
I am inclined to place the commencement of the MacCrimmon era so far
as their relationship with the Macleods of Dunvegan is concerned,
approximately as 1500, and the termination thereof as 1822. My
reasons for doing so are first that we find that in 1651 one of the
family was publicly acknowledged as the King of Pipers. In the old
chronicle detailing this incident the name of the piper upon whom
this honour was bestowed is given as John Macgurmen (MacCrimmon)
which I believe to be a mistake for Patrick MacCrimmon, he who
composed the well-known port, "I gave a kiss to the hand of the
King." If the old adage is true that it took seven years of a
man's life and seven generations of pipers before him to make a
perfect piper, the date 1500 is by no means too remote. Further,
the traditional list of MacCrimmon pipers who held their hereditary
office is sufficiently long to bridge that period. Dr. MacLeod
enumerates seven successive members of the family, whereas Mr. Ross
furnishes us with twelve names inclusive of those mentioned by Dr.
MacLeod. The following is Mr. Ross' list:
Finlay of the Breacan.
Iain Odhar.
Patrick Caogach.
Patrick Donn.
Donald Mór.
Patrick Mór.
Patrick Òg.
Donald Bàn
Angus Òg.
Malcolm.
Iain Dubh.
Patrick Mór.
It is outwith the scope of this article to deal with the MacCrimmon
genealogy, or to discuss in detail the different members of the
family. Interesting notes might be furnished concerning most of the
men whose names are enumerated above, and it might not be difficult
for a skilled player of pibroch, by a careful analysis of the
MacCrimmon compositions, to assign many of the extant compositions
to the appropriate composers. I prefer to gather together from the
available sources known to me a few incidents in the lives of three
outstanding members of the family, Donald Mór, Patrick Mór and Donald
Bàn.
DONALD MÓR MACCRIMMON
We shall probably not be very far wrong if we regard the period
during which this piper lived as that embracing the concluding years
of the sixteenth century and the early years of the seventeenth. I
realise that, in so placing him, I lay myself open to the criticism
that I post-date the period of Patrick Mór's activities. Patrick
Mór is regarded as the son of Donald Mór, and it is probable that
both father and son were in the service of Sir Rory Mór. It is
stated that, being a special favourite of his chief, Donald was sent
to Ireland to complete his musical education. There can be little
doubt that as Ireland was the early home of Celtic letters so she
was the early home of musical culture, and that the high degree of
efficiency attained by the MacCrimmons was, at least in part, due
to the finishing touches obtained by them in the sister island. We
learn that Donald Mór played before many of the nobility and gentry
of the country and greatly distinguished himself. Mr. Ross has an
interesting note that Donald accompanied his chief to Ireland in
the reign of James VI., on the occasions when MacLeod led his clan
in battle, and that about that time Donald composed "The Lament to
the Earl of Antrim." Among the compositions attributed to him are
"The Macdonald Salute," "Welcome to Rory Mór," and "The Salute of
the Earl of Ross." Mr. Ross, whose knowledge of pibroch entitles him
to speak with authority, states that close analysis of Donald Mór's
compositions reveals the fact that he frequently used the lower notes
of the chanter, and that there is internal evidence that he possessed
great skill in changing from the low to the high notes.
PATRICK MÓR MACCRIMMON
It is generally agreed that Patrick succeeded Donald as hereditary
piper to the MacLeods of Dunvegan. He is generally admitted to have
been the most distinguished member of his race. His life was spent in
the service of Sir Rory Mór MacLeod, who succeeded to the chiefship
in 1596, and who died as stated in 1626. Under the protection of this
powerful chief the practice of Piobaireachd received an impetus
which is bearing fruit to-day. The Scottish Privy Council, at a
comparatively early date, struck a severe blow at what was regarded
as the despotic power of the chiefs by limiting the number of the
retinue each chief was entitled to gather round him. An important
member of that retinue was the person who held the office of
hereditary piper. In addition to the honour such an office carried,
there were certain material advantages _e.g._, the freeholding of
land and the right to certain dues and liberties which were not
lightly esteemed. As indicating the dignified nature of the office,
it may be mentioned that, included in the chief's retinue, was the
piper's man, whose duty it was to act as servant to the piper and to
carry his instrument for him when not in use.
To Patrick Mór MacCrimmon is assigned the honour of having composed
the largest number of pipe tunes. In the plaintive lament "Cumha
na Cloinne" (Lament to the Children) he gives expression to his
deep grief caused by the visitation of one of the most poignant
afflictions known to man--the deaths of his children. According to
Dr. MacLeod he was the father of eight stalwart sons. Proudly one
Sabbath morning he and they marched to the church in their native
glen. Before the close of that year he mourned the loss of all his
sons who died in an epidemic of fever. Two other well-known laments,
the composition of which is assigned to him, are, "The Lament to the
only Son" and "The Lament to John Garbh MacGhille Chalum of Raasay,"
who was drowned in 1646 while crossing the Minch.
In 1651 Patrick Mór MacCrimmon was in all probability an old man,
but not too old to accompany the clan in support of Charles II. At
this time MacLeod of MacLeod was a minor, and the command of the clan
devolved upon his uncles, Norman MacLeod of Bernera and Roderick
MacLeod of Talisker. According to Angus Mackay's account, both these
men were knighted by Charles II. before the battle of Worcester in
1651 and on that occasion, Patrick Mór having had the honour of
playing before the King, and his performance having greatly pleased
His Majesty, Patrick received the further honour of being allowed
to kiss the King's hand. Mackay states that the well-known port,
"Fhuaireas pog o spog an Righ," was composed by MacCrimmon in honour
of the distinction then conferred upon him. Various accounts of
this outstanding MacCrimmon honour have been published, no two of
which entirely agree. Dr. William Mackay of Inverness has frequently
rendered signal service in the department of Highland history, and
I am indebted to his labours and scholarly research for what I
regard as a complete elucidation of the circumstances surrounding
the composition of this tune. Dr. Mackay edited _The Chronicles of
the Frasers_, an old MS. of events embracing the period 1616-1674.
There are many MS. histories bearing upon Highland matters, some
of which have been fabricated, but no suggestion of falsification
besmirches the reputation of this MS., which has been published under
the auspices of The Scottish History Publication Society. Referring
to the year 1651, the date of the battle of Worcester, the MS. states
that at Stirling, in the month of May, "there was great competition
betwixt the trumpets in the army; one Axell, the Earle of Hoome's
trumpeter, carried it by the King's own decision. The next was anent
the pipers; but the Earle of Sutherland's domestick carried it of
all the camp, for non contended with him. All the pipers in the army
gave John Macgurmen (MacCrimmon) the van, and acknowledged him for
their patron in chief. It was pretty in a morning (the King) in parad
viewing the regiments and bragads. He saw no less than eighty pipers
in a crould, bare-headed, and John Macgurmen in the middle covered.
He asked what society that was? It was told his Majesty--'Sir, yow
are our King, and yonder old man in the middle is the Prince of
Pipers.' He cald him by name and comeing to the king, kneeling,
His Majesty reacht him his hand to kiss; and instantly played an
extemporanean port, 'Fuoris Pooge i spoge i Rhi'--I got a kiss of the
King's hand--of which he and they were all vain." The writer of the
manuscript has made an attempt to render the Gaelic phonetically, and
Mr. Mackay in a footnote gives the correct Gaelic spelling "Fhuaireas
pog o spog an Righ."
DONALD BAN MACCRIMMON
MacLeod of Dunvegan, when Prince Charles Edward made his romantic if
impossible attempt to seize the crown of his forefathers, declined to
lend his services to the Prince, and consequently incurred the deep
displeasure of many of his clansmen. Had he remained simply neutral,
the resentment which his refusal to follow the Prince aroused would
have been less bitter, but he openly supported the reigning house.
Opinions differ as to which of two men, Malcolm MacCrimmon and
Donald Ban MacCrimmon, held the office of hereditary piper, but
most authorities agree that Donald Ban performed the duties of the
office when MacLeod led out his men against the Prince. Many of the
MacLeod men refused to follow their chief, and preferred to follow
the standard of the Prince, under the leadership of the heads of
cadet families sprung from the Dunvegan line. MacLeod's position was
a difficult one. Had the Prince landed in Moidart with sufficient
money, equipment and arms, MacLeod would probably have given him all
the support within his power. It is persistently stated that his was
one of the signatures to the document inviting the Prince to raise
his standard in Scotland. In these circumstances it was necessary
for MacLeod, by some overt act, to give practical evidence to the
Government of his non-adherence to the Stuart cause. He was in close
correspondence with, and being actively advised by, President Forbes,
who realised the importance of securing the services of MacLeod,
thereby lessening the likelihood of the Macdonalds of Skye joining
the Prince's forces. MacLeod gathered around him a substantial body
of men who held the lands in the vicinity of the castle, and led them
from the castle to the shore, where boats waited to convey them to
the mainland, and thence to the east of Scotland.
[Illustration: THE PIBROCH
_From the Painting by Lockhart Bogle_]
We are constantly reminded of the romance of the Forty-Five. We too
often forget the dark tragedies of those days. The spectre of looming
disaster entered the home of the MacCrimmons. Donald Ban MacCrimmon
had heard the note of the Banshee presaging a journey from which for
him there would be no returning. He was told to inspirit the men by
the rousing strains of "MacLeod's March," but true to his hereditary
instincts he could only play a port in harmony with the mood of
the moment. In place of the "March" his pipes attuned themselves to
that most touching of all laments, "Cumha Mhic Cruimein." The pages
of the _Brahan Seer_ do not contain any instance of second sight
more circumstantially fulfilled than that concerning Donald Ban
MacCrimmon. Contemporary history supplies us with the information.
The scene is changed from Dunvegan Castle to Moy Hall, the residence
of The Mackintosh, a few miles east of Inverness. In the absence
of her husband, the wife of The Mackintosh, better known as "Lady
Anne," kept a watchful eye, in the interests of the Prince, on the
movements of his enemies. The Prince had accepted the hospitality of
Moy Hall for the night. News reached "Lady Anne" that a body of men,
under Lord Loudon, including MacLeod and his men, were to attempt
to capture the Prince under the cover of night. "Donald Fraser,
a blacksmith, and other four with loaded muskets in their hands
were keeping watch upon a muir out some distance from Moy towards
Inverness. As they were walking up and down they happened to spy a
body of men marching towards them, upon which the blacksmith fired
his piece and the other four followed his example. The laird of
MacLeod's piper (reputed the best at his business in all Scotland)
was shot dead on the spot. Then the blacksmith (Fraser) and his
trusty companions raised a cry (calling some particular regiments by
their names) to the Prince's army to advance, as if they had been at
hand, which so far imposed upon Lord Loudon and his command (a pretty
considerable one) and struck them with such a panic, that instantly
they beat a retreat and made their way back to Inverness in great
disorder, imagining the Prince's whole army to be at their heels."
Tradition states that Donald Ban's body was buried not far from the
spot where he received his fatal wound, and I am informed that a
large stone on the moor marks the place of interment.
THE HOMELAND OF THE MACCRIMMONS
Pipers throughout the world will probably welcome a short description
of that part of Skye which will for all time be associated with the
MacCrimmon family. We may safely assume that the lands of Galtrigal
and Boreraig have undergone little physical change during the last
300 years. Standing on a lofty plateau, the MacCrimmon practice
ground, we find ourselves in the centre of a district possessing
great natural charm and an unparalled sea view. Dunvegan's ancient
towers are a prominent landmark reminiscent of bloody feuds, when
Macdonald and MacLeod, though connected by marriage, were continually
at one anothers throats. Johnson, Boswell, Pennant and Sir Walter
Scott all testify to the hospitality they received within its walls.
Dun Boreraig, to the east, one of many interesting brochs on the
island--silent witnesses to the strength and ingenuity of a past
race--still keeps its sentinel watch. To the west stand out in strong
relief the rocky cliffs of Dunvegan Head, and in the south are the
marvellous Coolins with their ever-changing aspects. At the time
when Angus Mackay's publication appeared in 1838, the ruins of the
"college" remained _in situ_, disclosing thick walls, massive cabers
or rafters, and other characteristics of old Highland habitations.
Mackay says that the building was divided into two parts, one forming
the class-room and the other the sleeping apartments.