Lesson 3

Our first tune – Auld Lang Syne The origin of Auld Lang Syne (which means “old long since”) is perhaps lost in the mists of time however researchers agree that the great Scottish poet Robert Burns brought forward both verse and melody that we know today.  In a letter dated 1788 to Mrs. Agnes Dunlop he praised the “heaven-inspired poet who composed this glorious fragment” and wrote further of the “fire of native genius” within.   Guy Lombardo grew up in London, Ontario and heard the song being sung by Scottish immigrants.  He would later arrange the words and music that became a New Year celebration tradition.  If you're not already familiar with the melody, google and download an MP3 version.

Should auld acquaintance be forgot And never brought to mind? Should auld acquaintance be forgot, And auld lang syne? For auld lang syne, my jo, For auld lang syne, We'll tak a cup o' kindness yet, For auld lang syne. And surely ye'll be your pint-stoup, And surely I'll be mine; And we'll tak' a cup o' kindness yet, For auld lang syne. For auld, etc. We twa hae run about the braes, And pou'd the gowans fine; But we've wander'd mony a weary fit, Sin' auld lang syne. For auld, etc. We twa hae paidl'd in the burn, Frae morning sun till dine; But seas between us braid hae roar'd. Sin' auld lang syne. For auld, etc. And there's a hand, my trusty fiere! And gie's a hand o' thine! And we'll tak' a right gud-wellie waught, For auld lang syne. For auld, etc.

In order to play this tune correctly we must play gracenote embellishments and a new embellishment called a Strike or "echo-beat".

In tunes with a slower tempo, like Auld Lang Syne and Scot's Wha Ha'e (which we'll be looking at a little later) the touch is slower and more pronounced creating an "echo".  The effect is stirring.  Later on we'll play the same embellishment within a more up-beat tune where the effect is more dynamic.

A Strike is simply two identical notes that are separated by a gracenote.  Examples are shown left and right.  In tunes with a quick tempo the strike is made very quickly with the touch of a finger.

Play the exercise above slowly and cleanly.  Don't rush!  Listen to the sound file by clicking on the Treble Clef to the right.

Embellishments are made "in context" with the tune.  Consider how embellishments might sound played within a tune at 40 beats-per-minute.  What happens when we play the same tune at 80 beats-per-minute?  They're played twice as fast!  Regardless of how fast you play them the individual notes are always separate, distinct, and sequential!

What's it supposed to sound like?  Click on the treble clef to listen to the first part.  Then carry on and play the second part.

And what does the second part sound like?  Again, click on the treble clef to the left.  Then click on the treble clef to the right to hear both parts played together.

Wow!  Wasn't that a rush!  You've only been at this a short while and already you've learned a tune.  This bagpipe thing is a breeze!  Well, not really.  It's actually very difficult and we've got a lot of learning ahead of us!

"When do I get to play the bagpipe?"  Well, just about any time you want.  There's really no advantage to waiting.  There is such a huge leap from the practice chanter to the bagpipe that I encourage my students to purchase a bagpipe just as soon as they're certain that this is something they want to pursue.

Simply stated, there is nothing to be gained by waiting unless you're tentative about going the distance.  Buying a bagpipe can be daunting so make sure you do your homework.  If your initial purchase is well researched and thought out you'll get a lifetime of use and enjoyment from your investment.  If not, the opposite is usually true.

Let's not stop here.  Let's learn another tune!  On to lesson four!

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