nmodes.abc

=============================================================================
=               Scales and Modes in Scottish Traditional Music              =
=                                  Jack Campin                              =
=============================================================================


The Big Picture
===============

The relationships between the modes and gapped scales can be summarized in
a single diagram: six 7-note modes, five 6-note modes, four 5-note modes.
The numbers from +1 to -4 indicate the change in the key signature, relative
to the major scale, if the home note is kept the same: sharps are positive,
flats negative.  So lydian mode has one more sharp (or one less flat) than
the major key with the same tonal centre; dorian has two less sharps (or two
more flats) and so on.  The gapped scales have alternative key signatures
(two alternatives for hexatonic modes, three for pentatonic).  Each mode in
the diagram can be contructed either by taking all the notes that occur in
both modes immediately below it, or by taking those notes that are in common
to both modes immediately above it.  I've also included the pipe (two-sharp)
versions of each mode, the tonal centre and the omitted notes.  I have also
indicated the relative frequency of these in the older repertoire, as I see
it after an informal scan of a lot of books, though without using a pocket
calculator:

   ++  very common
   +   common
   -   rare
   --  very rare
   --- nonexistent


  lydian ------ major -- mixolydian -- dorian ----- minor ---- phrygian
 TTTS TTS     TTST TTS    TTST TST    TSTT TST    TSTT STT    STTT STT
    +1            0          -1          -2          -3          -4
     G            D           A           E           B           F#
     --           ++          ++          +           -           --

      \          /\          /\          /\          /\          /
       \        /  \        /  \        /  \        /  \        /
        \      /    \      /    \      /    \      /    \      /
         \    /      \    /      \    /      \    /      \    /
          \  /        \  /        \  /        \  /        \  /
           \/          \/          \/          \/          \/

        lyd/maj     maj/mix     mix/dor     dor/min     min/phr
        TTm TTS     TTST Tm     TmT TST     TSTT mT     mTT STT
        (4-gap)     (7-gap)     (3-gap)     (6-gap)     (2-gap)
          +1,0        0,-1       -1,-2       -2,-3       -3,-4
          D-G       A-G, D-C    A-C, E-G    E-C, B-G      B-C
           -           ++          +           ++          --

            \          /\          /\          /\          /
             \        /  \        /  \        /  \        /
              \      /    \      /    \      /    \      /
               \    /      \    /      \    /      \    /
                \  /        \  /        \  /        \  /
                 \/          \/          \/          \/

            lyd/maj/mix maj/mix/dor mix/dor/min dor/min/phr
              TTm Tm      TmT Tm      TmT mT      mTT mT
               pi-1        pi-2        pi-3        pi-4
             (4,7-gap)   (3,7-gap)   (3,6-gap)   (2,6-gap)
              +1,0,-1     0,-1,-2     -1,-2,-3    -2,-3,-4
             D-GC, A-DG  A-GC, E-CF  A-CF, E-GC   E-CF, B-GC
                ++          ---          ++           -

I have no explanation for this frequency pattern.  Breandan Breathnach in
"The Music and Dances of Ireland" gives a frequency breakdown of the 7-note
modes of Irish music, concluding that it was the same across the British
Isles; I don't think this would still hold if gapped modes were taken into
account - English and Irish music are more similar to each other than either
is to Scottish music in this respect, just as they are more closely related
to each other rhythmically.

A similar scheme, with more modes (most of which don't correspond to
anything in Scottish music, and some to nothing in any music) was used
by Bertrand Harris Bronson in his "The Traditional Tunes of the Child
Ballads".  I would be interested to know of real examples that don't
fit my scheme.

A table of the numbers of sharps (+) and flats (-) in these modes:

             lyd maj mix dor min phr

    D flat   -4   .   .   .   .   .
    A flat   -3  -4   .   .   .   .
    E flat   -2  -3  -4   .   .   .
    B flat   -1  -2  -3  -4   .   .
    F         0  -1  -2  -3  -4   .
    C        +1   0  -1  -2  -3  -4
    G        +2  +1   0  -1  -2  -3
    D        +3  +2  +1   0  -1  -2
    A        +4  +3  +2  +1   0  -1
    E         .  +4  +3  +2  +1   0
    B         .   .  +4  +3  +2  +1
    F sharp   .   .   .  +4  +3  +2
    C sharp   .   .   .   .  +4  +3
    G sharp   .   .   .   .   .  +4

and the hexatonic and pentatonic modes have alternatives derived from that
list; so E mixolydian/dorian/minor pentatonic has 1, 2 or 3 sharps, which
makes it playable on either a G, D or A whistle or possibly all three,
depending on the tune's range.

=============================================================================
==  (c) Jack Campin         http://www.campin.me.uk/        December 2009  ==
==        11 Third Street, Newtongrange, Midlothian EH22 4PU, Scotland     ==
==                                                                         ==
==              these pages: http://tinyurl.com/scottishmodes              ==
=============================================================================

=============================================================================
=               Scales and Modes in Scottish Traditional Music              =
=                                  Jack Campin                              =
=============================================================================

Seven-Note Modes
================

1. Pitch Sets
== ==========

Nearly all Scottish tunes are based on the usual Western 7-note scale, or
on scales that leave one or two notes out of it.  These scales are made by
selecting seven notes from the 12 in an octave according to the pattern
of the white notes on a keyboard.  The white notes also have names in
tonic sol-fa.  This table describes this pitch set adding the intervals
between successive notes (T for tone, S for semitone):

   1  2  3  4  5  6  7  8  9 10 11 12
   C     D     E  F     G     A     B
  do    re    mi fa    so    la    ti
      T     T   S    T     T     T    S

I'm going to use some slightly unusual terminology to avoid unnecessary
confusion; the usual language of music theory makes for muddle when used
to discuss Scottish folk music.  This will make the next few paragraphs
into a bizarre exercise in saying obvious things in a very eccentric way,
but it gets clearer later on.

(Note to sol-fa users: British (Curwen) sol-fa allows the pitches to be
transposed for different keys, whereas some Continental systems don't.
Here, do will always be C, which fits both systems). 

An ABSOLUTE PITCH SET is a collection of notes chosen from the 12 available
that may be used in some order or other to make tunes.  I'm deliberately
not calling these "scales".

X: 1
T:The Chromatic Pitch Set and the Diatonic White-Note Pitch Set
M:12/4
L:1/4
K:C
     C ^C      D ^D      E      F ^F      G ^G      A ^A     B ||
"_do"C  z "_re"D  z "_mi"E "_fa"F  z "_so"G  z "_la"A  z "_ti"B|]

The intervals between the white notes of the piano follow a sequence, in
ascending order: tone, tone, semitone, tone, tone, tone, semitone.  This
pattern is a RELATIVE PITCH SET.  The pattern can be started at (transposed
to) any point of the 12-note chromatic scale: since the pattern is
asymmetrical, it gives 12 different absolute pitch sets.  I'll name them
after the number of sharps or flats in each, with sharps as positive numbers
and flats as negative:
 
X: 2
T:The 12 Diatonic Pitch Sets
M:7/4
L:1/4
K:C
"^-5"_A _B  c _d _e  f _g||\
"^-4"_A _B  c _d _e  f  g||\
"^-3"_A _B  c  d _e  f  g||
"^-2" A _B  c  d _e  f  g||\
"^-1" A _B  c  d  e  f  g||\
"^0"  A  B  c  d  e  f  g||
"^+1" A  B  c  d  e ^f  g||\     
"^+2" A  B ^c  d  e ^f  g||\
"^+3" A  B ^c  d  e ^f ^g||
"^+4" A  B ^c ^d  e ^f ^g||\
"^+5"^A  B ^c ^d  e ^f ^g||\
"^+6"^A  B ^c ^d ^e ^f ^g|]

Usually these are written by putting the sharps and flats at the start
of each line, as they won't change:

X: 3
T:The 12 Diatonic Pitch Sets (as key signatures)
M:7/4
L:1/4
K:Db
"^-5"A B c d e f g||\
K:Ab
"^-4"A B c d e f g||\
K:Eb
"^-3"A B c d e f g||
K:Bb
"^-2"A B c d e f g||\
K:F
"^-1"A B c d e f g||\
K:C
"^0 "A B c d e f g||
K:G
"^+1"A B c d e f g||\
K:D     
"^+2"A B c d e f g||\
K:A
"^+3"A B c d e f g||
K:E
"^+4"A B c d e f g||\
K:B
"^+5"A B c d e f g||\
K:F#
"^+6"A B c d e f g|]

The first one and last two are never used in Scottish music except by solo
singer/guitarists with capos.  Since the music is never written that way,
I won't use them in this document - all key signatures will range between
four flats and four sharps.

An important pitch set in Scottish music is that of the Highland bagpipe
chanter, which has nine notes using two sharps:

X: 4
T:Notes of the Bagpipe Chanter
M:9/4
L:1/4
K:C
G AB^cd e^fga|]

A pitch set is just a selection of notes you can use in a tune; any real
tune will not just have an absolute pitch set, but also a TONAL CENTRE,
FINAL, or HOME NOTE, which is the pitch in the set that the tune wants to
end on (and usually does, except for some oddities like circular dance
tunes).  "Wants to end on" is vague, and there is no good way to make it
fully precise.  Guitar accompanists and other people thinking in terms of
"common practice" harmony, where every part of a melody is seen as having
an associated underlying chord, will decide the tonal centre by figuring
out what chord sounds best as a close for the tune, or if it doesn't close
in a straightforward way, the one that seems most important to accompanying
it.  But not all Scottish tunes have reasonable chordal accompaniments.

The combination of an absolute pitch set and a tonal centre make up a KEY
(this is an unusually narrow way to use the word, but I'm going to stick
to it here).  This is the same notion of key that ABC uses; what you write
on the "K:" line in the header.

Other musical idioms use different relative pitch sets; it's worth giving
an example.  A scale commonly found in Middle Eastern music is called
HIJAZ in Arabic, Persian and Turkish (named after a region of Arabia, but
for no good reason), and is confusingly called FREYGISH in Ashkenazi Jewish
music (for even less reason).

X: 5
T:The Hijaz Scale
M:10/4
L:1/4
K:DMix
D2 _E^F GA _Bc d2|d2 c_B AG ^F_E D2|]

There is no way to get that from the Western choice of seven notes.

X: 6
T:The Chromatic Pitch Set and the Hijaz Scale
M:none
L:1/4
K:C
D2 _E  E  F ^F  G ^G  A _B  B  c d2||
D2 _E  z  z ^F  G  z  A _B  z  c d2|]

If you were to make a piano that let you play the hijaz scale on the
white keys, you'd end up with a pair of black keys side by side for
E natural and F natural, and with F sharp and B flat on white keys,
with no black key separating each from the G above and A below.  The
piano keyboard wasn't designed in the eastern Mediterranean.  It was
designed culturally near enough to Scotland to work for Scottish music.

Here's a tune example, an Egyptian love song often used for dancing:

X: 7
T:Ah Ya Zayn
M:2/4
L:1/16
Q:1/4=100
K:DMix % hijaz
 FG|A6 FG|A6       FG|A_BAG ABAG|F6
 A2|G6 FG|A_BAG F_ED2|AGGF F_EED|D_EFG A2
_BA|G6 FG|A_BAG F_ED2|AGGF F_EED|D2 z4 |]

In Arabic notation, the key signature would have both one sharp and two
flats; not many ABC implementations can do that at present, so I've used
accidentals.

A Sephardic Jewish song in the same mode, probably from Istanbul around
1800, with Judeo-Spanish words.

X: 8
T:La Rosa Enflorece
M:4/4
L:1/8
Q:1/4=100
K:APhr
 A| d3   e f>e df |   e>d^cB A3
 A| d3   e fe  df |   e4     z2||
ef| g>e eg f>e df |   ed^cB  A3
 A|^c B2 A GA  B^c|[1 AB^cd  e2:|\
                   [2 A4     z3|]

A Bosnian "sevdah" love song.  I've included Zero's chords, which show
a typical "three-chord trick" for the hijaz scale.

X: 9
T:Moj Dilbere
S:Muhamed Zero, Sevdah Bosnjaka, Sarajevo 1995
M:4/4
L:1/8
Q:1/4=90
K:DPhr
    "D" ^F2 G2 A2 (3BAG|"D"A8         |       \
    "Gm" B3  A B2   c2 |"D"A3 B A2  G2|       \
    "Cm"^F3  A GF   E2 |"D"D8        ||
  |:"D"  A3  B c2   B2 |"D"A3 B A2 G^F|"Cm"E6 \
D2|      C3  D ED  ^FE |"D"D8        :|

Another example from outside Scottish music is the six-note WHOLE-TONE
relative pitch set.  This is used in some folk music from Eastern Europe,
but is most familiar as used by French composers of the early 20th century.
Unlike the white-note scale, it's symmetric: there are only two whole-tone
absolute pitch sets, each taking half of the notes of the chromatic scale:

X: 10
T:The Two Whole-Tone Scales
M:9/4
L:1/4
K:C
 C2  D  E ^F ^G ^A  c2| c2 ^A ^G ^F  E  D  C2||
^C2 ^D  F  G  A  B ^c2|^c2  B  A  G  F ^D ^C2|]

The symmetry means that none of the six notes has a distinctive position
in these scales.  The result is that there is no tonal centre; whole-tone
melodies wander around randomly and could stop anywhere in the scale.  By
contrast, Scottish music nearly always has a single tonal centre, and the
pitch sets it uses make it easy to locate.  It isn't easy to write real
tunes in the whole-tone scale.  This is a scale study by the ocarina maker
Giorgio Pacchioni, meant for a whole-tone ocarina of his own design, which
makes it very easy to play.

X: 11
T:Pacchioni's Whole-Tone Etude
M:4/4
L:1/8
K:C
z2  G4  A2| B2 ^c2 ^d2  f2 | \
z2  A4  B2|^c2 ^d2  f2  g2 |
z2  B4 ^c2|^d2  f2  g2  a2 | \
z2 ^c4 ^d2| f2  g2  a2  b2 | \
z2 ^d4  f2| g2  a2  b2 ^c'2|
 GB^dB  GBdB | GB^dB  GBdB | \
 A^cfc  Acfc | A^cfc  Acfc |
 B^dgd  Bdgd | B^dgd  Bdgd | \
^cfaf   cfaf |^cfaf   cfaf |
^dgbg   dgbg |^dgbg   dgbg | \
 fa^c'a fac'a| fa^c'a fac'a|a4 z2|]

Because the diatonic pitch set has an asymmetric pattern, you can always
tell where the tonal centre goes if you transpose it.  A relative pitch
set and a tonal centre together make up a MODE.  Only four of the seven
notes in the relative pitch set are often used as a home note for a mode
used in Scottish music; in the white-note absolute pitch set, these are
C, D, G and A (do, re, so and la).  Two more (E and F, or mi and fa) are
not often used to base modes on, but their modes are worth knowing about
to build a clear and simple system describing the whole Scottish repertoire.

The names given to these modes in Western music theory are about 1000 years
old and make no sense at all.  They are named after places in Greece; this
is because ancient Greek music theorists had an idea (mostly wrong) that
each part of the country had its own special mode.  The mediaeval European
theorists then confused things even further; they thought they were writing
about the same modes as the ancient Greeks but systematically misinterpreted
what the Greek theory said.  After 1000 years it's a bit too late to think
about changing this, so I'm going with the flow.


2. The Major Mode
== ==============

The commonest mode in all the traditional musics of the British Isles is
the MAJOR mode ("ionian" to the mediaeval theorists, "chargah" in Turkish
music theory, "bilaval" in the music of North India, "sankarabharana" in
Carnatic music).  In this scale the "1" pitch (C in the white-note scale)
is the home note.  One common way of describing a scale is by the sequence
of intervals that occur in it as you ascend it for an octave; in the major
scale, this sequence is tone-tone-semitone-tone-tone-tone-semitone, or
TTS TTTS in the abbreviated form I'll use from now on.  Using the sol-fa
"do re mi" system, it is sometimes called the "do-mode" and goes like this:

X: 12
T:The Major (do) Scale
M:10/4
L:1/4
K:C
"_do"C2 "_re"D "_mi"E "_fa"F "_so"G "_la"A "_ti"B "_do"c2 |\
"_do"c2 "_ti"B "_la"A "_so"G "_fa"F "_mi"E "_re"D "_do"C2|]

Here's an old song, adapted by Burns, where the home note is G, so there is
one sharp:

X: 13
T:Duncan Gray
G:song
M:C
L:1/8
Q:1/4=120
K:G
DG FG    AB F2|G2    A>c BG G2:|
Bd dc/B/ cc c2|Bc/B/ AG  FE D2 |
DG FG    AB F2|G2    A>c BG G2:|

Another tune popularized by Burns:

X: 14
T:Corn Rigs
G:song or reel
M:C|
L:1/8
Q:1/2=108
K:A
E2|A3 B c2BA|G3 A B2E2|A3 B cdBc|A2 e4    E2|
   A2e2 fedc|dcBA GABG|FGAF BAGF|E2 A>B A2 ||
E2|A2e2 cde2|G3 A B2E2|A2ed cdBc|AB cd  e2A2|
   A2e2 fedc|dcBA GABG|FGAF BAGF|E2 A>B A2 |]

Here's a jig from around 1800 where the home note is D in the scale with
two sharps:

X: 15
T:Miss Sally Hunter of Thurston
S:The Beauties of Niel Gow
C:Nathaniel Gow
M:6/8
L:1/8
Q:3/8=120
K:D
A|DFA d2A|B2A d2A|Bcd efg|efd cBA |
  DFA d2A|B2A Bcd|egf edc|d3  D2 :|
g|fed g2e|a2f b2g|fef def|efd c>BA|
  fed g2e|a2f g2B|fga Adc|d3  d2g |
  fdf geg|afa bgb|afd Bcd|efd cBA |
  DFA d2A|B2A Bcd|egf edc|d3  D2 |]

A reel from the Borders:

X: 16
T:The Randy Wife of Greenlaw
G:reel
S:Sarah Northcott
M:C|
L:1/8
Q:1/2=100
K:D
c|d2AG F2Dc|d2fd eBBc|d2AG F2DF|GBAG FDD    :|
c|d2df abaf|gefd eBBc|d2df abaf|geaf (3ddd dA|
  d2df abaf|gefd eBBc|dfce BdAF|GBAG FDD    |]

A children's song, originally from Newcastle, which has been widely used
as a Scottish dance tune:

X: 17
T:Weel May The Keel Row
G:song
S:Gall and Inglis, Select Songs of Scotland
M:2/4
L:1/8
Q:1/4=120
K:G
D|B>B GB |c2 Ac |B>B GB |AF DD|BB  GB |c2 Ac |B>G A>F|G3:|
c|B>d dg |e2 dc |B>G GB |AF Dc|B>d d<g|e2 dc |B>G AF |G3:|
z|B2  G>B|c2 A>c|B2  G>B|AF D2|B2  G>B|c2 A>c|B>G A>F|G3:|

And a pipe march, which during World War 1 was adapted for the familiar
(and awful) song "The Road to the Isles":

X: 18
T:The Bens of Jura
C:John McLellan
B:8th (The Argyllshire) Battalion Argyll and Sutherland Highlanders: A
B:Collection of Pipe Tunes (Paterson's Publications Limited, July 1933)
N:I suspect that more dotted figures were intended than were printed
M:2/4
L:1/16
Q:1/4=80
K:D
   A>d|f4   agef|d2A2 A2dc|BGBc defa|e4 e2Ad    |
       f4   agef|dedc B2ag|fafd Acec|d4 d2     :|
   f>g|aAAA fAAA|dedc B2dc|BGBc defa|e4 e2 [1 fg|
       aAAA fAAA|dedc B2ag|fafd Acec|d4 d2     :|
[2 A>d|f4   agef|dedc B2ag|fafd Acec|d4 d2     |]

This is one of the oddest major-mode tunes from Scotland.  James Hogg
claimed to have collected it as a song in the Highlands, but it's very
similar to the slightly earlier Continental waltz tune "Ach du lieber
Augustin", and it has far more wide leaps than any normal vocal tune.

X: 19
T:Come O'er the Stream, Charlie
M:3/4
L:1/4
Q:1/4=144
K:F
C|F> A c|c  A d|c  A f|c A \
G|F> A c|c  A F|C> A G|F2:|
c|f  e f|d  e f|d  g f|e d \
c|f  e f|d  c B|A  G F|c2
c|B  d B|A  c f|c  A F|A G \
e|f> d B|c> A F|C> A G|F2|]

There is a cliche that tunes in the major sound happy.  To disprove
that, here is a Shetland lament for drowned fishermen - the title
refers to the unique black sweater that identified the dead body.

X: 20
T:Auld Swaara
S:Tom Anderson, Haand Me Doon Da Fiddle
M:2/4
L:1/8
Q:1/4=56
K:G
D| GG        (3D(B,G,)| (3D(GD)  ((3B,A,B,    |G,2) {c}((3BAF)|
   GG        (3D(B,G,)| (3D(GD)  (3(B,A,)B,   |DG         G  :|
A|(G/F/E/D/) (3(CEC)  |((3B,DB,)   (A,>B,)    |G,2  {c}((3BAF)|
  (G/F/E/D/) (3(CEC)  |((3B,DB,)   (A,>B,)    |DG         G  :|
D|(G/F/E/D/)    Gg    |   e(d/B/)   d/(e/f/g/)|a2   ({A}(3B)AF|
  (G/F/E/D/)    Gg    |   e(d/B/) (3d(gd)     |BG         G  :|

And another sea song about a dead lover, maybe English (this is
the way I hear it sung in Scotland):

X: 21
T:Lowlands Away
M:3/4
L:1/8
Q:1/4=72
K:G
G|Bc d3    e |     dB G3
z|g2 d2 (3gab|(3:: g2 f2 d2- d
d|fg a3    f |     gd c4|
  [M:4/4]d4 c B2A|[M:3/4]G4z||

And of course the same mode is found in most of Europe.  An Irish
example originally from the 18th century:

X: 22
T:The Minstrel Boy
M:C|
L:1/8
Q:1/2=75
K:D
A|D3 E GFED|F2A2 d2cd|B2A2 FGAF|E4       D3:|
A|d2c2 B2cd|c2B2 A3 A|B2F2 F2A2|Bc/B/ Ac d3
A|D3 E GFED|F2A2 d2cd|B2A2 FGAF|E4       D3|]

a Gypsy folksong from Hungary:

X: 23
T:Harom Krumpli A Tuzbe
S:Csenki & Paszti: Baszarozsa - 99 Cigany Nepdal, 1955
M:2/4
L:1/8
Q:1/4=144
K:C
cc cc|cc  c2|ed cB|AB G2 |
dd dd|c B2 A|G2 G2|G2 z2 |
FF FF|FG  F2|ED DD|DE C2 |
GG GG|GF  ED|C2 C2|C2 z2|]

and a tune now played all over the British Isles but originally from
Elizabethan England (one of the few tunes in the folk repertoire
where the major seventh is an essential note at the bottom of the
range).

X: 24
T:The Cuckoo's Nest
M:C|
L:1/8
Q:1/2=88
K:D
B2 |A>dd>c d>ef>d|e>dc>B A2 A>B|c>BA>B c>de>d|c>AG>F G2
A>G|F>DF>A d>fe>d|c>AG>F G2 A>G|F2 F>D C>DE>G|F2 D2  D2:|
B2 |A>FD>F A>FD>F|A>GF>E D2 E>F|G>EC>E G>EC>E|G>FE>D C2
D>E|F>EF>D d>fe>d|c>AG>F G2 A>G|F2 F>D C>DE>G|F2 D2  D2:|

A tune doesn't have to be very long to have an unmistakable mode.
This is probably the most-played tune in present-day Scotland:

X: 25
T:Nokia tune
T:Gran Vals for guitar, bars 13-16
C:Francisco Tarrega 
M:3/4
L:1/8
Q:3/4=68
K:A
ed F2 G2|cB D2 E2|BA C2 E2|A6|]

Transposed forms of this mode are:

X: 26
T:Major (do) Scales
L:1/4
M:10/4
K:Ab
"^A flat" A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:Eb
"^E flat" E2 FG AB cd e2|e2 dc BA GF E2||
M:10/4
K:Bb
"^B flat" B2 cd ef ga b2|b2 ag fe dc B2||
M:10/4
K:F
"^F"      F2 GA Bc de f2|f2 ed cB AG F2||
M:10/4
K:C
"^C"      C2 DE FG AB c2|c2 BA GF ED C2||
M:10/4
K:G
"^G"      G2 AB cd ef g2|g2 fe dc BA G2||
M:10/4
K:D
"^D"      D2 EF GA Bc d2|d2 cB AG FE D2||
M:10/4
K:A
"^A"      A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:E
"^E"      E2 FG AB cd e2|e2 dc BA GF E2|]

For comparison, it may be useful to describe these modes by the sequence
of pitches occurring in each one when the home note is fixed: I'll use A,
since this is one of the commonest tonal centres in Scottish music and is
the home note of the pipe chanter.  The major scale for A is AB^cde^f^ga.

Another way to compare different scales is to pick a fixed absolute pitch
set and say which note in it becomes the tonal centre; I'll use the pitch
set of the pipe chanter.  "The Bens of Jura" uses every note it has,
centring on D, and pipers sometimes call the major mode the "D mode".
Because the word "mode" is used in other ways in this document, I'll say
the D major scale is the "D-final" seven-note mode on the chanter.

X: 27
T:The Major Scale (D-final) on the Pipe Chanter
M:none
L:1/4
K:Hp
d2 efgagfe d4 x d2 cBAGABc d4|]


3. The Dorian Mode
== ===============

The DORIAN mode has pitch 3 (D in the white-note scale) as its home note,
with interval sequence TST T TST.  In A, it's ABcde^fga.  In sol-fa parlance
it's the re-mode.

X: 28
T:The Dorian (re) Scale
M:10/4
L:1/4
K:DDor
"_re"D2 "_mi"E "_fa"F "_so"G "_la"A "_ti"B "_do"c "_re"d2 |\
"_re"d2 "_do"c "_ti"B "_la"A "_so"G "_fa"F "_mi"E "_re"D2|]

It's found in song tunes throughout the British Isles.  The most
often cited example is a sea shanty which could have come from
anywhere:

X: 29
T:What Shall We Do With the Drunken Sailor
G:shanty
M:C|
L:1/4
Q:1/2=140
K:ADor
ee/e/ ee/e/|eAce |
dd/d/ dd/d/|dGBd |
ee/e/ ee/e/|efga |
ge    dB   |A2A2|]

but there are many Scottish examples:

X: 30
T:Canan nan Gaidheal
M:12/8
L:1/8
Q:3/8=54
K:DDor
  D/D/|DAG  ADF  E/D/C2- C2 D/E/|AAG  E>DC D3- D2
  A/A/|A>Bc B>AG A3-     A2 A/A/|A>Bc B>AG A3- A2
  G   |A>DD E>DC C3-     C2 G   |A>AG E>DC D3- D2
|:c   |d<dc ADF  E/D/C2- C2 D/E/|AAG  E>DC D3- D2:|

X: 31
T:Andro wi his Cutty Gun
G:drinking song
S:MacColl, Folk Songs and Ballads of Scotland
M:3/4
L:1/4
Q:3/4=72
K:D Dorian
  A3  |(D2 E)|(F<G) E|C3 |\
  A3  | D2 E | F<E- E|D2
A|A2 D| D2 E | F  E2 |D2  \
A|A2 D| D2 E | F  E2 |D2||
G|A2 d| d2 e | c2   B|A2  \
G|A2 d| d2 e | c  B2 |A2
G|A d2| d2 e | c2   B|A2  \
D|D2 A| G2 E |(F  E2)|D2|]

In this tune the Dorian sixth only occurs once, but at a climactic point:

X: 32
T:The House of Gray
S:Kerr's Merry Melodies
G:jig
M:6/8
L:1/8
Q:3/8=108
K:ADor
e|AAA c2e|dBG dBG|AAA c2d|ece ecA|
  gag f2e|dBg dBG|AAA cde|dBG A2:|
B|ccc g2c|ece dBG|ccc g2c|ece geg|
  aga g2e|dBg dBG|AAA cde|dBG A2:|

X: 33
T:The Burning of Auchindoun
G:song
S:the way I sing it, mostly from Ewan MacColl
M:4/4
L:1/4
Q:1/2=66
K:EDor
E/|E>B B>A|B<B E2 |G>G  F2  |(ED)  B,>E|
   E2  B<B|AA  B>A|G>E  F>D | E2   E2  |
   B>B d2 |c>c B2 |E>B  B>B |(A<F) D>E |
   E2  B2 |A<A B2 |G>E  F>D | E2   E2 ||
   B2  d>d|c<A B2 |E>B  B<B |(A<F) D2  |
   E2  B2 |A<A B>A|G>E (F<D)| E2   E3/|]

X: 34
T:May Margaret
S:Blaikie MS via Motherwell
B:Bronson v3 p163
N:tune for Child ballad #162
M:2/4
L:1/8
Q:1/4=56
K:DDor
G   |cB/c/ dd|edc||\
A   |ccdd    |edc||\
d/c/|BAGD    |EGA||
d/c/|BAGD    |EDD||\
d/c/|BAGD    |EGA||\
d/c/|BAGD    |EDD|]

X: 35
T:Bonnie Lass Amongst the Heather
G:song
S:Scottish Folksinger
M:5/4
L:1/8
N:metre re-notated to avoid fermatas
Q:1/4=88
K:DDor
 FG |        A3 D D4 (EG)| G3   E   G4
(EG)|[M:4/4] A3 A D3   D | c2 (BA) (Bc) d2-|d6
(cd)|[M:5/4] e3 d d4 (AB)|(cB)(AG)  G4
(AB)|[M:4/4] c2d2 A3   G | F2 (ED)  C2  D2-|D6|]

X: 36
T:To Daunton Me
G:strathspey
N:based on a Lowland song from the early 18th century (see the
N:tunes from Mitchell's "The Highland Fair" of 1731 on my website)
M:C
L:1/8
Q:1/4=120
K:EDor
G>A|B2   E2  E2   A>G|F>GE>F D2d>e|f>ed>B d<BA>F|B2 E2  E2:|
F>E|D2   d2  d2   B>c|d>ed>B A2d>c|B2 e2  e2 e>f|g>fe>d B2
d>e|f2 (3agf e2 (3gfe|d>ed>B A2d>e|f>ed>B d<BA>F|B2 E2  E2|]

X: 37
T:My Daughter Shilo
S:James Thomson's MS for the treble recorder, 1702
B:David Johnson, 21 Scots Tunes for the Treble Recorder
N:extensive ornamentation omitted, see Johnson's edition
N:I think I've come across this tune from
N:an American source, anybody recognize it?
M:3/4
L:1/8
Q:1/4=80
K:GDor
Ac|d2 d2 cA |f2 e2 d2   |cd cA GA   |F3  G A2|
   d2 fd cA |f3  g a2   |F3  G A/G/F|G4
Ac|d2 d2 c>A|f2 f2 ef   |g2 g2 fg   |a2 ba gf|
   d2 fd cA |fg g2 f/g/a|F3  G A/G/F|G4     |]

X: 38
T:Da Scallowa Lasses
G:Shetland reel
M:C|
L:1/8
Q:1/2=104
K:ADor
Aa-af    efed|cdef gagd|Aa-af efed|cABG A2BG |
Aa-af    efed|cdef gagd|Aa-af efed|cABG A2A2||
BE (3EEE c2cA|dedB gfed|ea-ag efed|cABG A2A2:|

These are fairly typical examples from early music, but not from chant:

X: 39
T:Worldes Blis
G:English song about how miserable earthly life is, c.1250
S:a music history book (Oxford History of Music?) I read around 1976
N:Pauses added at line ends because that's the way everybody sings it
M:none % sorta 3/4
L:1/4
Q:1/4=120
K:GDor
  G (F/E/ D)    F  G2         A (B/A/   G)     (G/F/)(F/G/)   z2
G A (G    F)    G (F/E/ D)    F (G      A)     (A     G)      z2
G A  B2         A (B/A/ G)    A (B/A/   G)      A    (G/F/)   z2
G A (G    F)    G (F/E/ D)    F (G      A)     (A     G)      z2
B B (c/d/ c)    d (c    B)    c (B      A)      B    (A/G/)   z2
B B  B    c     B (A    G)    A (B/A/   G)      A    (G/F/)   z2
G A  B2         A  G2         A  A     (G/F/)   G  (3(F/E/D/) z2
F G  A2         B  A2         B  A   (3(G/F/G/) A2            z2
  B  c2         B  B   (A/G/) A  B     (A/G/)   A    (G/F/)   z2
G A  A   (G/F/) G (F/E/ D)    F (G/A/ (3B/A/G/) F     G4      |]

X: 40
T:Palestine Song
T:Nu alrest leb ich mir werde
C:Walther von der Vogelweide, 1204
G:recruiting song for the Fourth Crusade
S:S.S. Prawer, Penguin Book of Lieder
N:the rhythm is often interpreted differently
M:3/4
L:1/8
Q:1/4=120
K:DDor
   D2 D4   |F2 F2 E2|D2 DE FE|  D2  D2 C2|
   E2 G4   |A2 AG F2|F2 DC D2|(3EFE D2
D2|D2 D4   |F2 F4   |D2 DE FE|  D2  D2 C2|
   E2 G4   |A2 AG F2|F2 DC D2|(3EFE D2
A2|A2 c4   |c2 A2 G2|A2 c2 B2|  A6       |
   A2 cB A2|G2 GF ED|E2 FE D2|  C6       |
   E2 G4   |A2 AG F2|E2 DC D2|(3EFE D4  |]

X: 41
T:L'Homme Arme
G:French political song, late 14th century
M:3/4
L:1/4
Q:3/4=60
K:DDor
  D2D|G2G|FE2|D3 | \
  AAD|zAA|AG2|FE2|D3 |AAA|D3|
  d2d|c2c|d2d|A3 | \
  d2d|c2c|d2d|A2   \
d|e2d|cB2|A3 |z3 |
  D2D|G2G|FE2|D3 |\
  AAD|zAA|AG2|FE2|D3|]


X: 42
T:Douce dame jolie
G:French love song
C:Guillaume de Machaut, c.1340
M:C|
L:1/4
Q:1/4=150
K:GDor
d|d G F G|B/AG/ AA   |G d d/c   B/|B/AG/ Ad   |
  G G F G|B/AG/ Ac   |B>A G   F   |G3        ||
e|g g f e|d2    d/cB/|d2  e/d/c/B/|AG    Bc   |d3
e|g g f e|d2    d/cB/|d2  e/d/c/B/|AG    A/GF/|G3||
d|d G F G|B/AG/ AA   |G d d/c   B/|B/AG/ Ad   |
  G G F G|B/AG/ Ac   |B>A G   F   |G3        |]

It was always one of the commonest modes for religious music, and not
just in Catholic Europe, as in this 16th century Scottish psalm tune,
which must be a good candidate to be the most-sung tune in Scottish
history:

X: 43
T:Martyrs
S:Scottish Psalter 1615
G:psalm tune
M:none
L:1/2
Q:1/2=80
K:DDor
D2 FD AF ED A2 z2||A2 cA Bd A2 z2||
A2 cG AF ED A2 z2||c2 BG BA D4   |]

Dorian has probably been the most common heptatonic mode in folk
music in the whole of Europe throughout its history.  Some
examples:

X: 44
T:Viem ja jeden hajicek
G:Slovak song
S:Rudolf Vig, Nepek Dalai, Budapest c.1960
M:4/4
L:1/8
K:DDor
DD AA BAG2|BA       Bc d2 A2|
d2 c2 A2G2|A/G/F/E/ D2 z4   |
FE FG A3 G|A/G/F/E/ D2 z4  |]

The transposed versions of Dorian are:

X: 45
T:Dorian (re) Scales
L:1/4
M:10/4
K:BbDor
"^B flat"  B2 cd ef ga b2|b2 ag fe dc B2||
M:10/4
K:FDor
"^F"       F2 GA Bc de f2|f2 ed cB AG F2||
M:10/4
K:CDor
"^C"       C2 DE FG AB c2|c2 BA GF ED C2||
M:10/4
K:GDor
"^G"       G2 AB cd ef g2|g2 fe dc BA G2||
M:10/4
K:DDor
"^D"       D2 EF GA Bc d2|d2 cB AG FE D2||
M:10/4
K:ADor
"^A"       A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:EDor
"^E"       E2 FG AB cd e2|e2 dc BA GF E2||
M:10/4
K:BDor
"^B"       B2 cd ef ga b2|b2 ag fe dc B2||
M:10/4
K:F#Dor
"^F sharp" F2 GA Bc de f2|f2 ed cB AG F2|]

On the chanter, it's the E-final seven-note mode, but is not very
common in pipe music:

X: 46
T:The Dorian Scale (E-final) on the Pipe Chanter
M:18/4
L:1/4
K:Hp
e2 fgf e2 dcBAGABcd e2|]

X: 47
T:Donald Blue
G:march
S:Scots Guards pipe tune book
M:2/4
L:1/8
Q:1/4=88
K:EDor
   d>B G>B|dB cA|d>B G>B|AB e2 |
   d>B G>B|dB cA|B>A G>B|AB e2:|
   B>B g>e|dB cA|B>B g>e|dB e2 |
[1 B>B g>e|dB cA|B>A G>B|AB e2:|
[2 e>f g>e|dB cA|B>A G>B|AB e2|]


4. The Mixolydian Mode
== ===================

The MIXOLYDIAN mode has semitone 6 as its home note (G in the white-note
scale); interval sequence TTS T TST.  In A, it's AB^cde^fga.  In sol-fa,
it's the so-mode.

X: 48
T:The Mixolydian (so) Scale
M:10/4
L:1/4
K:GMix
"_so"G2 "_la"A "_ti"B "_do"c "_re"d "_mi"e "_fa"f "_so"g2 |\
"_so"g2 "_fa"f "_mi"e "_re"d "_do"c "_ti"B "_la"A "_so"G2|]

X: 49
T:The Gallowa Hills
M:4/4
L:1/8
Q:1/4=100
K:BMix
FD |B,3   C  D2  EE|F2  B>B F3 \
 E |D2  B,B, B,B,CD|E3   C  A,2
F>F|B,3   C  D3   E|F2  B2  D2 \
CB,|E>D EG   F3   E|C3   B, B,2||
DE |F>F B2   D3   E|F<F B2  F3 \
 D |E2  C2   A,3  C|E2  A>G F2
FD |B,3   C  D3   E|F2  B2  D2 \
CB,|E>D EG   F3   E|C3   B, B,2|]

Mixolydian tunes often make the seventh at the lower end
of the tune's range prominent by using it as a cadence at
the end of a phrase.  This pipe reel version of the same
tune does that more consistently:

X: 50
T:Campbell's Farewell to Redcastle
M:2/4
L:1/16
Q:1/4=112
K:AMix
   e2 |A3B  c3d |e2a2 e3d|c2A2 A2Bc|d2B2 G2
   B2 |A3B  c3d |e2a2 e3d|c2BA G2B2|A4   A2:|
   g>f|e2a2 a2gf|e2a2 e3d|c2A2 A2Bc|d2B2 G2
[1 gf |e2a2 a2gf|e2a2 e3d|c2BA G2B2|A4   A2:|
[2 B2 |ABcd cdef|efga e3d|c2BA G2B2|A4   A2|]

This tune completely avoids that cadence.  The mixolydian seventh
occurs only near the top of the range, with the melody descending
after it (in many modal systems it would be considered to be in a
different mode sharing the same pitch set and tonal centre):

X: 51
T:Lochaber No More
B:Kerr's Merry Melodies Bk.3, p47
Z:Nigel Gatherer
M:3/4
L:1/8
Q:1/4=90
K:GMix
GA|B2 B2 Bc|B2 A2 Bd|e2 A2   AB |B2 A2 
GA|Bd cB AG|E2 D2 GA|B2 G2   GA |G4  :|
GA|B2 B2 Bc|d2 cB AB|G2 g2   ga |a2 g2 
GA|B2 B2 Bc|d2 cB AB|G2 g2   ga |g4 
de|f2 f2 ed|e4    EG|A2 A2 (3GAB|B2 A2 
GA|Bd cB AG|E2 D2 GA|B2 G2   GA |G4  |]

X: 52
T:Miss Montgomery
G:strathspey
M:4/4
L:1/8
Q:1/4=120
K:AMix
f|e<Ae>c e<Ag>e|d<Gd>B d<Gf>d|e<Ae>c e<Ag>e|d>Bg>B A<A A:|
f|e>ac>a e>fg>e|d>gB>g d>gf>d|e>ac>a e>fg>e|d>Bg>B A<A A:|

X: 53
T:The Tailor and his Shirt
G:jig
S:MacFarlan MS
M:6/8
L:1/8
Q:3/8=120
K:AMix
B>cd ded|g2d B2G|c>de efe|a2e c2A |
B>cd ded|g2d B2G|c>de efe|a2e c2A:|
a2e  c2A|g2d B2G|a2e  f2e|a2e c2A |
gag  gfe|d2d B2G|cde  ece|a2e c2A:|

X: 54
T:The High Road to Linton
G:reel
S:Kerr's Merry Melodies v1
N:the old two-part version
M:C|
L:1/8
Q:1/2=112
K:AMix
d|ceef a2ae|f2fe a2ae|ceef a2ae|faec B2A:|
d|ceeg fddf|ecce fBBd|ceeg fddf|ecac B2A:|

X: 55
T:Tullochgorum
G:strathspey
M:4/4
L:1/8
Q:1/4=108
K:DMix
G|F>DA>D G>CE>G|F>DA>D F>GA>d|F>DA>D       G>CE>G|F>DA>G F2E||
F|D>dA>B c>CE2 |D>dA>d F>dA>d|D>dA>B       c>CE>F|D>dA>B F2E||
F|D>dA>B c>CE>F|D>dA>B c>de>c|e/d/c/B/ c>A G>CE>F|D>dA>G F2E|]

X: 56
T:Elizabeth's Big Coat
G:children's song or reel
S:Kenny Fraser
M:C|
L:1/8
Q:1/2=120
K:AMix
f|edc2 dcBd|cA A/A/A g2fa|edc2 dcBd|egdB A2A:|
B|c2ce dBBd|cAAf     g2fa|c2ce dBBd|egdB A2A:|

X: 57
T:Rattling Roaring Willie
G:jig
M:9/8
L:1/8
Q:3/8=120
K:GMix
d|B2G GAG Bde|f2c AFA c2d|\
  B2G GAG Bde|gfg B2c d2e|
  gfg dBG Bde|f2c AFA c2e|\
  dBd e2d Bdg|BGB AFA G2|]

Transpositions of mixolydian-mode scales:

X: 58
T:Mixolydian (so) Scales
L:1/4
M:10/4
K:EbMix
"^E flat"  E2 FG AB cd e2|e2 dc BA GF E2||
M:10/4
K:BbMix
"^B flat"  B2 cd ef ga b2|b2 ag fe dc B2||
M:10/4
K:FMix
"^F"       F2 GA Bc de f2|f2 ed cB AG F2||
M:10/4
K:CMix
"^C"       C2 DE FG AB c2|c2 BA GF ED C2||
M:10/4
K:GMix
"^G"       G2 AB cd ef g2|g2 fe dc BA G2||
M:10/4
K:DMix
"^D"       D2 EF GA Bc d2|d2 cB AG FE D2||
M:10/4
K:AMix2 
"^A"       A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:EMix
"^E"       E2 FG AB cd e2|e2 dc BA GF E2||
M:10/4
K:BMix
"^B"       B2 cd ef ga b2|b2 ag fe dc B2|]

On the chanter, it's the A-final mode, allowing tonal centres at both
ends of the range:

X: 59
T:The Mixolydian Scale (A-final) on the Pipe Chanter
M:21/4
L:1/4
K:Hp
A2 Bcdefg a2 gfedcB A2 G A2|]


5. The Minor Mode
== ==============

The MINOR mode (sometimes called the AEOLIAN mode) is less used in
Scottish music than any of the modes above; it occurs rather more
often in the Highlands, but in the Lowlands it usually takes a
different form described later.  Its home note is semitone 8, or A
in the white-note scale; interval sequence TSTT STT.  In A, it's
ABcdefga.  In sol-fa it's the la-mode.

X: 60
T:The Minor (la) Scale
M:10/4
L:1/4
K:AMin
"_la"A2 "_ti"B "_do"c "_re"d "_mi"e "_fa"f "_so"g "_la"a2 |\
"_la"a2 "_so"g "_fa"f "_mi"e "_re"d "_do"c "_ti"B "_la"A2|]

X: 61
T:O Wha is She that Lo'es Me
T:Morag
G:Gaelic song, later used by Burns
S:G.F. Graham, Popular Songs and Melodies of Scotland
M:C
L:1/8
Q:1/8=100
K:CMin
G   |c>de>c d2 G>G|c>ed>c B>AG>G|
     c>de>f d2 e>c|B>GF>E e2 e>f|g>ed>B c>de||
e   |c>BG>F E>EF>G|A>FG>E C2 e
e/c/|c>BG>F E>DF>G|A>FG>E C2 C |]

X: 62
T:Logan Water
G:Lowland ballad tune
M:C
L:1/8
Q:1/4=80
K:GMin
d2|B2AG G3 B|FDCD F4 |B2G2  GBFG|BABc d4 |
   e2dc d2cB|cBAG F3B|GABc  decd|B2AG G2|]

X: 63
T:Chi mi na feidh air a bhealach
T:I see the deer in the mountain pass
G:song
S:Angus Fraser Collection
M:6/8
L:1/8
Q:3/8=80
K:DMin
A   |d2D    A2G|F2E D2z/A/|d2D A2G|F2G A2
z/e/|f2e {e}d2c|A2G FGA   |d2D A2G|F2E D2||
A   |D2D    F2G|A2A f2g   |a2g f2e|d2c ABc|
     d2D    A2G|F2E D2z/A/|d2D A2G|F2G A2
z/e/|f2e    d2c|A2G FGA   |d2D A2G|F2E D2|]

X: 64
T:Rowing from Islay to Uist
G:rowing song
M:6/8
L:1/8
Q:3/8=88
K:BMin
F|B2B d2e|c2B c2e|B2B f2f|   gfe f2c|
  d2d e2d|c2B c2e|gfe f2c|[1 d2B AB:|\
                          [2 B2c d2||
A|F2F F2E|F2F d2e|c2B A2F|   E2D E2G|
  F2F F2E|F2F d2e|c2B A2c|   B3- B2:|

X: 65
T:John Bain's Sister's Wedding
N:originally an 18th century Gaelic song, often used as a jig
M:6/8
L:1/8
K:AMin
e|c2A AAA|agf e2d|c2A AAA|d2c B2d|
  c2A AAA|agf e2d|c2A BGB|A3  A2:|
e|A2B c2c|d2c cBc|d2c Bcd|e2A A2e|
  f2g agf|e2d c2a|c2A BGB|A3  A2:|

X: 66
T:The Inverness Fiddler
G:strathspey
N:Named by GS's son George MacLennan; possibly derived
N:from a tune played by A.A. Cameron on the fiddle
C:Pipe Major George S. McLennan
S:Gordon Highlanders Pipe Music Collection volume II
B:NLS Mus.D.s.19
M:C
L:1/8
Q:1/4=112
K:BMin
B2 B>c d>e f>g|a>f e>d c>B A>c|B2 B>c d>e f>g|a>f e>c B2 f2:|
B2 B>c d>e f>d|c>B A>B c>d e>c|B2 B>c d>e f>g|a>f e>c B2 f2:|

X: 67
T:John Roy Stuart
G:strathspey
S:Kerr's Merry Melodies book 2
M:C
L:1/8
Q:1/4=124
K:DMin
 f|c>BA>G F>GA>B|c<FA>F       c<FA<f|
   c>BA>G F>GA>F|D<dd>c       d2d  :|
 f|c>df>g a>fg>a|f<c d/c/B/A/ f<cc>f|
[1 c>df>g a>fg>a|d<ag>f       d2d  :|
[2 a>fg>e f>de>c|A<dd>c       d2d  |]

X: 68
T:Miss Gordon of Gight
G:reel
C:Isaac Cooper
G:fiddle reel, early 1780s
M:C|
L:1/8
Q:1/2=100
N:often played much slower these days; there's nothing
N:in the original published version to suggest that
K:CMin
G,CEG cgec|BdBG FDB,D|CEGE DFBG|FDB,D C/C/C C2:|
egbg  agfe|defg fdBf |egbg agfe|dBfd  c/c/c c2 |
egbg  agfe|defg fdBf |gfed cdec|BGFD  EC    C2|]

This is a very old example, a chant-like Gaelic harp tune first printed
in the 18th century but possibly 200 years older:

X: 69
T:the Terror of Death
S:Daniel Dow, Ancient Scottish Music
T:s eagal leam a mbas
C:by Rorie Dall
M:3/4
L:1/8
Q:1/4=100
K:AMin
d|d>c (d/c/d/e/) f2|eAAA A2|dGGG  G2| cFFF          F2|
  GFEE           E2|DEFG A2|G3   EDC|(C/D/E/F/) A A,3 |
  d>c (d/c/d/e/) f2|adaa a2|gcgg  g2| agff          f2|
  gfee           e2|defg a2|g3   edc|(c/d/e/g/) a A2 ||
A-| AG        A/B/c/B/ A2|GAcA             G2             |(FGAG)           F2|
({F}E2)   ({G}F2)      A2|G2F2             E2             | DA,           D3 E|
   (F/D/E/C/) D3        A|A2   (A/G/F/E/) (D/E/F/G/)      | A2            E2E2|
   (E/F/G/F/) E2       E2|F>GFE          (3D/E/F/ (3G/A/B/| c2            G2G2|
    GAcA               G2|FGAB             c2             | GFEE            E2|
    DEFG               A2|G3              EDC             | C/D/ (3E/G/A/ A,3|]

A familiar hymn tune (possibly mediaeval words, but the tune
can't be traced to before 1853, so it's not as old as it seems):

X: 70
T:Veni, Veni, Emmanuel
M:4/4
L:1/4
Q:1/4=120
K:AMin
A|c e e e|d f e d|c3 \
d|e c A c|d B A G|A3
d|d A A B|c c B A|G3 \
c|d e e e|d f e d|c3    ||
g|g3    e|e3    e|d f e d|[M:6/4] c d e c A c|[M:4/4] d B A G|A3 |]

Transpositions of minor-mode scales:

X: 71
T:Minor (la) Scales
L:1/4
M:10/4
K:FMin
"^F"       F2 GA Bc de f2|f2 ed cB AG F2||
M:10/4
K:CMin
"^C"       C2 DE FG AB c2|c2 BA GF ED C2||
M:10/4
K:GMin
"^G"       G2 AB cd ef g2|g2 fe dc BA G2||
M:10/4
K:DMin
"^D"       D2 EF GA Bc d2|d2 cB AG FE D2||
M:10/4
K:AMin
"^A"       A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:EMin
"^E"       E2 FG AB cd e2|e2 dc BA GF E2||
M:10/4
K:BMin
"^B"       B2 cd ef ga b2|b2 ag fe dc B2||
M:10/4
K:F#Min
"^F sharp" F2 GA Bc de f2|f2 ed cB AG F2||
M:10/4
K:C#Min
"^C sharp" C2 DE FG AB c2|c2 BA GF ED C2|]

The minor mode is the B-final mode on the pipes.

X: 72
T:The Minor Scale (B-final) on the Pipe Chanter
M:20/4
L:1/4
K:AMix
B2 cdefgagfedc B2 AGA B2|]

Pipe tunes that use all seven notes of the minor scale are unusual,
and not many pipe tunes sound like this one, an adaptation of a
Lowland lament from the 18th century, "Frenet Ha":

X: 73
T:Dark Lowers the Night
C:P.-M. J. Mackay
S:Scots Guards pipe tune book
G:retreat march
M:3/4
L:1/8
Q:1/4=76
K:BMin
d>c B2 B>c|d>e f2 f2|ga  f2 e>d|cB c4     |
d>c B2 B>c|d>e f2 f2|ga  f2 f>e|dc c<B B2:|
a>g f2 f2 |g2  a2 a2|a>g f2 e>d|cB c4     |
d>c B2 B>c|d>e f2 f2|ga  f2 f>e|dc c<B B2:|

while this one is a pipe adaptation of a Gaelic song adaptation of
a Northumbrian tune:

X: 74
T:The Mist-Covered Mountains
T:Chi Mi na Mor-Bheanna
T:Hush, Hush
N:based on the English song "Oh dear what can the matter be"
G:slow march
M:6/8
L:1/8
Q:3/8=50
K:BMin
B3 B3|f2f  f>ec|A3   A3  |c>Bc B>AB|
d3 e3|f>ga c>BA|B>cf e>dc|B3   B3 :|
f3 f3|e>fa f>ec|A2A  e2c |f2f  e>dc|
d3 e3|f>ga c>BA|B>cf e>dc|B3   B3 :|


6. The Phrygian Mode
== =================

The PHRYGIAN mode is the white-note scale starting on E; interval sequence
STTT STT.  In A it's A_Bcdefga.  It is very rare in Scottish music, mainly
occurring in street cries and work songs.  In sol-fa it's the mi-mode.

X: 75
T:The Phrygian (mi) Scale
M:10/4
L:1/4
K:EPhr
"_mi"E2 "_fa"F "_so"G "_la"A "_ti"B "_do"c "_re"d "_mi"e2 |\
"_mi"e2 "_re"d "_do"c "_ti"B "_la"A "_so"G "_fa"F "_mi"E2|]

Here are the only examples I can find from Scotland that are not
primitive chants:

X: 76
T:The Dhu Hill
S:Kerr's Merry Melodies
G:jig, sometimes played slowly
M:6/8
L:1/8
Q:3/8=104
K:F#Phr
F2A cdc|BAG Bcd|c2c fed|   cBc F3 :|
cBc ABc|dcd B3 |cBc f2f|   cAF F3 :|
f2d dcB|ABG FGA|B2B cBc|[1 d3  A2A:|\
                        [2 dcB ABG|]

X: 77
T:Haud Awa Hame
S:Kerr's Merry Melodies
G:jig
M:6/8
L:1/8
K:F#Phr
f|cfg f2e|faf ecA|cfe f2e|cBA f3 |
  cfg f2e|faf ecA|ABA Bcd|cBA f2:|
d|cBA ABA|cBA Bcd|cBA ABc|cBc f3 |
  cBA ABA|cBA Bcd|cfa fed|cBA f2:|

It is fairly common in Spanish music, like this Sephardic song from
Andalusia:

X: 78
T:Tres morillas me enamoran
N:15th century Spanish
B:Cancionero Musical, Madrid 1928
M:2/4
L:1/8
Q:1/4=100
K:BPhr
  Be|dB GA|BA GF |E2 EF|G A<B A|B4-   |B2||
  Be|dB GA|Bc B2-|B2 Be|dB   GA|Bc B2-|B2
|:Be|dB GA|BA GF |E2 EF|G A<B A|B4-   |B2:|

This is an example from Giresun, on the Black Sea coast of Turkey:

X: 79
T:Karsilama
S:T. Hakki Karahasan, Yoresel Turk Halk Oyunlari, 2003
M:9/8
L:1/8
K:BPhr
BA Bc de ddc|de dc BA B3:|
B2 e2 eg e2d|de dc BA B3:|
Bd cB A2 cBA|GF G2 BA B3 |
Bd cB A2 cBA|GF G2 BA B3:|

This is part of a piece of Turkish art music from the early 20th century:

X: 80
T:Kurdilihijazkar Saz Semaisi (intro and refrain)
N:next section is in saba makam, not representable in ABC
C:Tatyos Efendi
N:there are many versions of this on YouTube
M:10/8
L:1/16
Q:5/8=44
K:DPhr
D4  d2 dedc BABc  d4  z2|d2e2g2 f3e  d3c     cBBA B2 |
F3B Ac B3d  cBce  d2c2B2|B3g fe d3c  BABc    d4   z2||
e2d2c2 B3A  GFGA  B4  z2|A2B2d2 c3A  BABG    A4   z2 |
D4  B2 A3G  G>BAG G4  z2|FGABAG FAGF FEED [1 FGABcd :|\
                                          [2 D4   z2|]

This is a folk hymn from Hungary, originally a folk song in
a different mode, but perhaps modified under the influence
of Catholic chant:

X: 81
T:Holy Virgin Mary, lovely lily stalk
B:Balint Sarosi, Gypsy Music
M:none
L:1/8
Q:1/4=50
K:EPhr
AA  Bc   BA (AG3)|BA GF      E4 |
AA  Bc   BA (AG) |BA GF      E4 |
ED (AB)  G4      |ED A(A/B/) G4 |
AB (cB) (Ac)     |BA G6         |\
                  BA GF      E4|]


Transpositions of Phrygian mode scales:

X: 82
T:Phrygian (mi) Scales
L:1/4
M:10/4
K:CPhr
"^C"       C2 DE FG AB c2|c2 BA GF ED C2||
M:10/4
K:GPhr
"^G"       G2 AB cd ef g2|g2 fe dc BA G2||
M:10/4
K:DPhr
"^D"       D2 EF GA Bc d2|d2 cB AG FE D2||
M:10/4
K:APhr
"^A"       A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:EPhr
"^E"       E2 FG AB cd e2|e2 dc BA GF E2||
M:10/4
K:BPhr
"^B"       B2 cd ef ga b2|b2 ag fe dc B2||
M:10/4
K:F#Phr
"^F sharp" F2 GA Bc de f2|f2 ed cB AG F2||
M:10/4
K:C#Phr
"^C sharp" C2 DE FG AB c2|c2 BA GF ED C2||
M:10/4
K:G#Phr
"^G sharp" G2 AB cd ef g2|g2 fe dc BA G2|]

On the pipe chanter this would be the F mode, but no pipe music uses it.


7. The Lydian and Locrian Modes
== ============================

Two other modes named by theorists are the LYDIAN and LOCRIAN modes (the
white-note scales beginning on F and B respectively).  The Locrian mode
was never used in practice (or even mentioned in theory) in the Middle
Ages, and has no relevance at all to Scottish music - it seems to have been
a 19th century invention by somebody with an engineer's mentality who saw
you could do it on the piano.  The Lydian mode was used in some Gregorian
chant (perhaps less than the written sources suggest, as some of it might
have become major in performance) and occurs in some Scandinavian music.
It has a sort of theoretical existence in Scottish music, as it helps
describe other, much more common, modes.  Its interval pattern is TTTS TTS;
in A it's AB^c^de^f^ga.  In sol-fa it's the fa-mode.

X: 83
T:The Lydian (fa) Scale
M:10/4
L:1/4
K:FLyd
"_fa"F2 "_so"G "_la"A "_ti"B "_do"c "_re"d "_mi"e "_fa"f2 |\
"_fa"f2 "_mi"e "_re"d "_do"c "_ti"B "_la"A "_so"G "_fa"F2|]

The next tune is the *only* traditional Scottish Lydian tune I know of
(though its ending is in E dorian).

X: 84
T:The Bob of Fettercairn
G:reel
S:Kerr's MM v1 p24
M:C
L:1/8
Q:1/2=104
K:GLyd
Bc||dBGB dBGB|dBdg f2df|ecAc ecAc|edef gage |
    dBGB dBGB|dBdg f2df|afge fdgB|AABd e2eg||
    dgBg dgBg|dgBg f2df|eaca eaca|edef gage |
    dgBg dgBg|dgBg f2df|afge fdgB|AABd e2eg|]

though it has a relative which seems to be partially derived from it as
the result of a fiddler's memory lapse mixing two tunes up:

X: 85
T:The Braes of Glenorchy
G:reel
S:McGlashan, A Collection of Strathspey Reels
N:(pencil note) The Mason's Apron
M:C|
L:1/8
Q:1/2=104
K:GMix
(c|B>A)GA GAGE  |D>EG>A  B2(A>G)| c(AA>B) ABAG | AGAB      c2Ad|
   BGGA   G>AGE |DEGA    B2 AG  | ABcd    e>deg| G/G/G B>A G3 ||
(c|B>G)dG B>Gd>G|BGdG    B2 Gd  |^cAeA   ^fAeA |^cAeA     Tc2Ad|
   BGdG   eGdG  |D>EG>A TB2 AG  | ABcd    edeg | G/G/G BG  G2 |]

This pipe march is possibly Lydian, but the fourth only occurs in
inconspicuous places:

X: 86
T:Morair Sim
T:Lord Simon
N:regimental march of the Lovat Scouts, believed to date from 1715
M:2/4
L:1/8
K:GLyd
G>G GB|AG  AB|G>G GB |dB g2 |
G>G GB|AG  AB|e>d B>c|dB g2:|
d>e ge|ae  ge|d>e ge |ae g2 |
d>e ge|ae  gf|e>d B>c|dB g2 |
d>e ge|ae  gf|d>e ge |ae g2 |
d>e ge|a>g fa|e>d B>c|dB g2|]

This mediaeval Latin hymn from the then-Norse culture of Orkney is in
the Lydian mode.  It's famous as one of the earliest known tunes to be
harmonized in thirds.

X: 87
T:Hymn to Saint Magnus
T:Nobilis, humilis
S:Davidson & Apel, Historical Anthology of Music
M:C
L:1/4
Q:1/4=84
V:1
V:2
K:FLyd
[V:1] A c B2    |A c  B2  |A c B    d|A c     B2   |
[V:2] F A G2    |F A  G2  |F A G    B|F A     G2   |
%
[V:1] A c B2    |A c  B2  |A c B    d|c d/e/ (e d)||
[V:2] F A G2    |F A  G2  |F A G    B|A c    (c d)||
%
[V:1] e c B c   |A F (G A)|G A A    G|F3        z  |
[V:2] c A G A   |F F (E F)|G F E/D/ E|F3        z  |
%
[V:1] A c c B/c/|A F (G A)|G A A    G|F4          |]
[V:2] F A A G/A/|F F (E F)|G F E/D/ E|F4          |]

Lydian mode would be the G-mode on the pipes, but it's impractical; the G's
are not tuned so as to have any sort of reasonable harmonic relationship
with other notes on the chanter, and are not even exactly an octave apart,
so the G-mode is only used for a few desperate efforts at arranging non-pipe
music which is actually in the major with an essential melody note above the
octave.  Locrian mode would be the C-final mode, but the C on the chanter is
the most strangely tuned of all, with no other note having any detectable
harmonic relationship to it, so even if the Locrian mode had any musical
reality in Scottish music, the Highland pipes couldn't play it.

This Bosnian tune may just possibly be considered as Locrian, apart from
the sixth (D) occasionally being sharpened:

X: 88
T:U lijepom starom gradu Visegradu
S:Huws Jones & Velagic, Sevdah: Traditional Music from Bosnia, 1997
M:2/4
L:1/8
Q:1/4=104
K:F#Loc
P:Intro
{D^D}EB     c/B/A/G/|   FG    A2   |\
     B,A    B/A/G/F/|   EE/F/ G>B, |
     E^D/E/ FE/F/   |   GF/G/ AG/F/|\
     AG/F/  EF/G/   |[1 F2    z2  :|\
                     [2 F4-        |F2 z2||
P:Verse
EB BB|c2    B2|[M:3/4] AG  GA GA/G/|[M:2/4] F4-|F2z2|
EB BB|c2    B2|[M:3/4] A>B cd c2   |[M:2/4] B4-|B2z2|
EB BB|c2    B2|[M:3/4] AG  GA GA/G/|[M:2/4] F4-|F2z2|
AA AA|B/A/G G2|[M:3/4] GA  AG F2   |[M:2/4] F4-|F2z2|
AA AA|B/A/G G2|[M:3/4] GA  AG F2   |[M:2/4] F4-|F4 |]

X: 89
T:Lydian (fa) Scales
L:1/4
M:10/4
K:DbLyd
"^D flat"  D2 EF GA Bc d2|d2 cB AG FE D2||
M:10/4
K:AbLyd
"^A flat"  A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:EbLyd
"^E flat"  E2 FG AB cd e2|e2 dc BA GF E2||
M:10/4
K:BbLyd
"^B flat"  B2 cd ef ga b2|b2 ag fe dc B2||
M:10/4
K:FLyd
"^F"       F2 GA Bc de f2|f2 ed cB AG F2||
M:10/4
K:CLyd
"^C"       C2 DE FG AB c2|c2 BA GF ED C2||
M:10/4
K:GLyd
"^G"       G2 AB cd ef g2|g2 fe dc BA G2||
M:10/4
K:DLyd
"^D"       D2 EF GA Bc d2|d2 cB AG FE D2||
M:10/4
K:ALyd
"^A"       A2 Bc de fg a2|a2 gf ed cB A2|]


8. Summary of the Heptatonic Modes
== ===============================

It may help to hear all these modes together, sharing a common tonal
centre.  Listen for which note changes on each line.

X: 90
T:Heptatonic Modes on A
L:1/4
M:10/4
K:ALyd
"^Lydian"     A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:A
"^Major"      A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:AMix
"^Mixolydian" A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:ADor
"^Dorian"     A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:AMin
"^Minor"      A2 Bc de fg a2|a2 gf ed cB A2||
M:10/4
K:APhr
"^Phrygian"   A2 Bc de fg a2|a2 gf ed cB A2|]

=============================================================================
==  (c) Jack Campin          http://www.campin.me.uk/      September 2012  ==
==        11 Third Street, Newtongrange, Midlothian EH22 4PU, Scotland     ==
==                                                                         ==
==              these pages: http://tinyurl.com/scottishmodes              ==
=============================================================================

=============================================================================
=               Scales and Modes in Scottish Traditional Music              =
=                                  Jack Campin                              =
=============================================================================

Hexatonic Modes
===============

1. The Hexatonic Pitch Set
== =======================

Many Scottish tunes don't use all seven notes of the diatonic pitch set.
The same procedure occurs in non-Western musical systems: in classical
Indian music, modes derived by leaving notes out of a raga are called
"secondary ragas", and the Indonesian seven-note "pelog" scale is usually
reduced to scales ("pathets") that leave gaps.
 
There are many theoretically possible scales like this, but only a few are
used.  The six-note modes of Scottish music can all be seen as different
modes of the white-note pitch set with B (ti) left out, or alternatively
as its transposition down a fourth, the set with F (fa) left out, which
also fits the white notes.  The interval sequence now has a wider gap, a
minor third, written as m.  (None of the hexatonic or pentatonic scales
of Scottish music has a wider gap than a minor third; the same goes for
the pentatonic scales of China, but African and Japanese music use scales
with major third gaps, and ancient Greek music used both).

The omitted-B version looks like this:

   -ti:   1  2  3  4  5  6  7  8  9 10 11 12
          C     D     E  F     G     A
         do    re    mi fa    so    la
            T     T    S   T     T      m

and the omitted-F version is the same pattern transposed:

   -fa:   1  2  3  4  5  6  7  8  9 10 11 12
          C     D     E        G     A     B
         do    re    mi       so    la    ti
             T     T      m       T     T    S

There are two different ways to get this pitch set on the pipe chanter:
either omit the C sharp (so that the single semitone gap is between
F sharp and G) or omit the G's (so that the semitone falls between C sharp
and D).  Nobody seems to have named these before; I'll call the first
the "C-gap hexatonic pitch set" and the second the "G-gap hexatonic pitch
set".  Pipe tunes using the C-gap set work well on a G whistle.

X: 91
T:The C-gap Hexatonic Pitch Set on the Pipe Chanter
M:8/4
L:1/4
K:C
GABde^fga|]

X: 92
T:The G-gap Hexatonic Pitch Set on the Pipe Chanter
M:7/4
L:1/4
K:C
AB^cde^fa|]

The six-note scales have no popular names, so I've used the naming system
of Campbell and Collinson in their "Hebridean Folksongs", which describes
these by saying what seven-note modes they could be if the missing note
were filled in.

Some of the tune examples I've given for gapped scales are long: this is
necessary for one point I'm making, that certain notes are omitted in a
regular pattern.  If a note doesn't occur in a short phrase you might
put it down to fluke, but if a 64-bar piece omits it you need to ask why.


2. The Major/Mixolydian Hexatonic Mode
== ===================================

The MAJOR/MIXOLYDIAN HEXATONIC mode uses a major or mixolydian scale with
the seventh step omitted, giving an interval sequence TTS TTm.  On the white
notes of a keyboard, it would either have C as tonal centre and omit the B,
or have G as tonal centre and omit the F.  In A it's AB^cde^fa.

This is one of the commonest modes in Scots music: it occurs more often than
the seven-note mixolydian mode, and many Scottish "major" tunes make so
little use of the seventh that a gap here is barely noticeable.  In sol-fa,
it's either the do-mode with ti omitted or the so-mode with fa omitted.

X: 93
T:The Major/Mixolydian (do/so) Hexatonic Scale
M:9/4
L:1/4
K:C
P:do -ti
"_do"C2 "_re"D "_mi"E "_fa"F "_so"G "_la"A "_do"c2 |\
"_do"c2 "_la"A "_so"G "_fa"F "_mi"E "_re"D "_do"C2||
P:so -fa
K:GMix
"_so"G2 "_la"A "_ti"B "_do"c "_re"d "_mi"e "_so"g2 |\
"_so"g2 "_mi"e "_re"d "_do"c "_ti"B "_la"A "_so"G2|]

X: 94
T:Tramps and Hawkers
M:3/4
L:1/4
Q:3/4=80
K:C
% major/mixolydian hexatonic
C   |E2 E|D2  C|D2 E|C2 A,|G,2 A,|C2  D|C3- |C2
E   |G2 G|E F G|A2 A|G2 E |C2  D |E D C|A,3-|A,2
E   |G2 G|E F G|A2 A|G2 E |C2  D |E D C|A,3-|A,2
C/D/|E2 E|D2  C|D2 E|C2 A,|G,2 A,|C2  D|C3- |C2|]

X: 95
T:Lord Ronald, My Son
S:Burns, SMM, collected in Ayrshire
B:G.F. Graham, Popular Songs and Melodies of Scotland
G:ballad tune
M:3/4
L:1/8
Q:1/4=72
K:F
% major/mixolydian hexatonic
FG |A2 A2 Ac|A2 G2 Ac|d2 d2 cA |G4
Ac |d3  c AF|CD F2 FG|A2 BA G>F|F4
F>G|A2 A2 Ac|A2 G2 Ac|d2 c2 cA |G4
Ac |d3  c AF|CD F2 FG|A2 BA G>F|F4|]

X: 96
T:Jess MacFarlan
T:Ay Waukin O
S:Scots Musical Museum #213
G:song
M:3/2
L:1/8
Q:1/2=136
K:AMix
% major/mixolydian hexatonic
d2d>c B2A2 F4  |d3 c B2e2 c2A>A|
d2d>c B2A2 F3 A|B2Bc d2c2 B2A2||
F4    F2F2 E4  |F2F2 F2A2 B2d2 |
F2F2  F2F2 E2FA|B2A2 d3 c B2A2|]

X: 97
T:The Smith's a Gallant Fireman
N:derived from the old Border song "Mary Scott"
G:fiddle strathspey
M:4/4
L:1/8
Q:1/4=120
K:D
% D major/mixolydian hexatonic
D2 D>F A<AA>F|A>Bd>A F2E>D|E2 E>G B<BB>A|d>fe>d B2B<d|
D2 D>F A<AA>F|A>Bd>A F2E>D|G>BG<B F>AF<A|E>FG>A B2A2:|
d>ef>e d<dd>A|B>Ad>A F2E>D|e2 e>f e2 e>f|g>fe>d B2A2 |
d>ef>e d2 d>A|B>Ad>A F2E>D|G>BG<B F>AF<A|E>FG>A B2A2:|

X: 98
T:Kate Dalrymple
M:C|
L:1/8
Q:1/2=104
K:D
% D major/mixolydian hexatonic
D2DF E2EF|D2DF E2EF|D2d2 BAGF|E2A2 F2D2:|
A3B  AGFG|A2d2 A2F2|A2d2 A2d2|A2d2 A2F2 |
G2GB F2FA|E2EG AGFE|D2d2 BAGF|EFGA F2D2|]

X: 99
T:Bratach Bana
G:reel
M:2/4
L:1/8
Q:1/4=108
K:D
% D major/mixolydian hexatonic
Ad  da|f>e f/e/d|Ad  da   |   f>e f/e/d|
g2  ab|a>g fg   |aa  ef/e/|   dA  BA  :|
f>e fA|BA  d>B  |AA  BA   |   fe  eA   |
f>e fA|BA  d>e  |f<a ef/e/|[1 dA  BA  :|\
                           [2 d4      |]

X: 100
T:Haste to the Wedding
T:Carrick Fergus
T:Trip to the Dargle
T:The Small Pin Cushion
G:jig
S:Skye Collection, 1880s
N:probably written by James Oswald around 1750
M:6/8
L:1/8
Q:3/8=120
K:D
% major/mixolydian hexatonic
B   |AFA Aaf|ede fdB|AFA AdF|EFE E2
A   |AFA Aaf|ede fdB|AFA faf|ddd d2:|
f/g/|afa afa|bgb bgb|afa agf|efe e2
f/g/|a3  f3 |ede fdB|AFA faf|ded d2:|

X: 101
T:Lady Bothwell's Lament
S:Graham, Songs of Scotland
G:song from the early 18th century
M:3/4
L:1/16
Q:1/4=80
K:F
c2     A2`(GF)| F6         A2  G2`(FD)|C6 \
d2     c2`(BA)|(B2A2) (G2``F2) G2`(Ac)|d6
c2 ({B}A2)(GF)| F6        (GA) D3```F |C6 \
d2 ({d}c2)(BA)|(B2A2) (G2``F2) A3```c |d6||
c2    (cB)(AB)| c6         d2 (cB)(AB)|c6 \
c2     d2``f2 | f6         f2  d3```c |c6
f2    (cA)(GF)| D6         F2 (CD)(FA)|d6 \
c2    (cA)(GF)| F3`G  (AG)(Ac) G3```F |F6|]

Here is an example from China:

X: 102
T:The East Is Red
T:Northern Shensi Folk Song
G:song
S:Revolutionary Songs of China
M:2/4
L:1/8
Q:1/4=100
K:C
% major/mixolydian hexatonic
c2 cd|G4   |F2 FD|G4   |
c2 cc|df dc|f2 FD|G4   |
c2 G2|FF ED|C2 c2|G2 AG|
F2 FD|GA GF|GF ED|C4-  |C2|]

One of the best-known tunes from anywhere in this mode is the English
nursery rhyme "This Old Man", also known as Barney the Purple Dinosaur's
song "I Love You" from US children's TV (and used on prisoners by
American torturers in Iraq and Afghanistan):

X: 103
T:This Old Man
T:I Love You
M:4/4
L:1/4
Q:1/4=120
K:C
     G E G    z|G   E    G z|A G F E|D E F
E/F/|G C C/C/ C|C/D/E/F/ G z|G D D F|E D C2|]

X: 104
T:Major/Mixolydian (7-gap, do/so) Hexatonic Scales
L:1/4
M:9/4
K:Ab
"^A flat"  A2 Bc def a2|a2 fe dcB A2||
M:9/4
K:Eb
"^E flat"  E2 FG ABc e2|e2 cB AGF E2||
M:9/4
K:Bb
"^B flat"  B2 cd efg b2|b2 gf edc B2||
M:9/4
K:F
"^F"       F2 GA Bcd f2|f2 dc BAG F2||
M:9/4
K:C
"^C"       C2 DE FGA c2|c2 AG FED C2||
M:9/4
K:GMix
"^G"       G2 AB cde g2|g2 ed cBA G2||
M:9/4
K:DMix
"^D"       D2 EF GAB d2|d2 BA GFE D2||
M:9/4
K:AMix
"^A"       A2 Bc def a2|a2 fe dcB A2||
M:9/4
K:EMix
"^E"       E2 FG ABc e2|e2 cB AGF E2||
M:9/4
K:BMix
"^B"       B2 cd efg b2|b2 gf edc B2|]

On the pipes, this mode can be obtained two ways: either as the A-final
mode of the G-gap hexatonic pitch set, or (less usually) as the D-final
mode of the C-gap hexatonic pitch set.

X: 105
T:Far Over Struy
S:Scots Guards pipe tune book
G:retreat march
M:3/4
L:1/8
Q:1/4=80
K:D
% major/mixolydian hexatonic, D-final in the C-gap hexatonic pitch set
d2  A2 A2 |d>e f2 A2|f>g a2 f2|ed  f2 e2 |
e>f g2 a>g|fe  d2 B2|d>e f2 A2|BA  d2 d2:|
e>f g2 a>g|fd  f2 e2|f>e d2 fa|g>f f2 e2 |
e>f g2 a>g|fe  d2 B2|d>e f2 A2|BA  d2 d2:|

X: 106
T:Captain Horne
G:pipe strathspey
M:C
L:1/8
Q:1/4=112
K:D
% major/mixolydian hexatonic, D-final in the C-gap hexatonic pitch set
e|f>AA2  B<Gg2 |f>AA2  B<dd>d|
  f>AA2  B<Gg2 |f<ae>d B<dd :|
e|f2 f>d f2 f<a|f2 f>d e2 f<a|
  f2 f>d e>dg>e|a>fe>d B<dd :|

X: 107
T:The 79ths Farewell to Gibraltar
C:John Macdonald
G:pipe march
M:2/4
L:1/16
Q:1/4=80
K:A
% major/mixolydian hexatonic, A-final in the G-gap hexatonic pitch set
c>d|e3f   e2c2  |A4     A2a2 |f2e>c  e>fe>d|c2B2 B2c>d|
    e3f   e2c2  |A4     A2a2 |f2e>c  e>fa>e|c2A2 A2  :|
a2 |f2e>c e>fa>e|f<ae>c B2a2 |f2e>c  e>fa>e|f2B2 B2a2 |
    f2e>c e>fa>e|f<ae>c B2a2 |f2e>c  e>fa>e|c2A2 A2  :|
c>B|A3B   c2a2  |f2e>c  B2c>B|A>Bc>d e>fe>c|f2B2 B2c>B|
    A3B   c2a2  |f2e>c  B2a2 |f2e>c  e>fa>e|c2A2 A2  :|
c>d|e3f   e2c2  |e4     e2a2 |f3e    f2a2  |f3e  c2a2 |
    f2e>c c2B<A |B<AB>c e2a2 |f2e>c  e>fa>e|c2A2 A2  :|


3. The Dorian/Minor Hexatonic Mode
== ===============================

The DORIAN/MINOR HEXATONIC mode is a dorian or minor scale with the sixth
omitted, interval sequence TST TmT.  On the white notes, it could either
have D as tonal centre and omit the B, or have A as tonal centre and omit
the F.  In A it's ABcdega.

This is very common; the great majority of the older Scottish tunes usually
described as "minor" are in fact in this mode, and it is much commoner than
both the dorian and minor modes put together.  In sol-fa, it's either the
re-mode with ti omitted or the la-mode with fa omitted.

X: 108
T:The Dorian/Minor (re/la) Hexatonic Scale
M:9/4
L:1/4
K:DDor
P:re -ti
"_re"D2 "_mi"E "_fa"F "_so"G "_la"A "_do"c "_re"d2 |\
"_re"d2 "_do"c "_la"A "_so"G "_fa"F "_mi"E "_re"D2||
P:la -fa
K:AMin
"_la"A2 "_ti"B "_do"c "_re"d "_mi"e "_so"g "_la"a2 |\
"_la"a2 "_so"g "_mi"e "_re"d "_do"c "_ti"B "_la"A2|]

X: 109
T:Ye Jacobites By Name
G:song in slow march tempo
M:4/4
L:1/8
Q:1/4=100
K:AMin
% dorian/minor hexatonic
E|A>B AG E2 EE|c2  BA B3
E|A>B AG ED EG|A4     z3
c|c>B cd e3  e|d>c Bc d3
d|eA  AG E2 EE|c2  BA B3
d|e>A AG ED EG|A4     z3|]

X: 110
T:My Bonny Moorhen
S:Sheila Douglas, The Sang's the Thing
G:song, free rhythm
M:6/8
L:1/8
Q:3/8=60
K:EMin
% dorian/minor hexatonic
E|E<AA B2A |G<EE E2z|G<AG BAB |G<DD D2
D|GFG  A>GA|BAd  e2d|B>AG A>Bd|F<EE E2||
E|e<ee g2g |f<dd d2d|ded  fef |d<AB A2
z|BAB  B>AG|A<Bd e2d|B<AG A<Bd|F<EE E2|]

X: 111
T:Ca the Yowes to the Knowes
G:Lowland song or slow air
M:2/4
L:1/8
K:BMin
% dorian/minor hexatonic
z|E>F B2 |A>F A2|F>E D>d|c>d e2 |f>B B>B|Ad    F2 |E2  F>A|B2 B
F|E>F B>B|A>F A2|F>E D>d|c>d e>e|f>B BB |A/B/d F>D|E>E F>A|B2 B
z|E>F B2 |A>F A2|F>E D>d|c>d e2 |f>B B>B|Ad    F2 |E2  F>A|B2 B|]

X: 112
T:Are Ye Sleepin Maggie
G:Lowland song
M:4/4
L:1/8
Q:1/4=72
K:AMin
% dorian/minor hexatonic
e2  Ac       ee  e/d/c|d2  GB       dd    d/c/B   |\
A>B c>d      e>d c>d  |e>A c/B/A/G/ EA/c/ BA     ||
E>A Ac       B>A GA/B/|c>c B>G      E>c   BA      |\
E>A A>c      B>A GA/B/|c>A B>G      Ec    BA     ||
e2  A/B/c/d/ ee  e/d/c|d2  G/A/B/c/ d<g   e/d/c/B/|\
A>B c>d      e>d c>d  |e>A c/B/A/G/ EA/c/ BA     |]

X: 113
T:Born in St Johnstone and burn'd in Dundee
S:Blaikie MS (1692), NLS MS.1578/Mf.Sec.MSS.295
G:south-east Scottish ballad
M:3/4
L:1/4
Q:1/4=120
K:DDor
% dorian/minor hexatonic
D A G   |F> G A|F E D   |C> D E|D A G|F> G A|A    f e   |d3||
A d d/c/|A d  c|F c A/G/|F> G A|A A G|F> G A|G/F/ D C/E/|D3|]

X: 114
T:The Gloomy Night is Gathering Fast
T:Hughie Graham
T:Druimonn dubh (The Black Cow)
S:G.F. Graham, The Popular Songs and Melodies of Scotland
G:song: a Gaelic lament, later a nonsense song, later used by Burns
M:3/4
L:1/8
Q:1/4=72
K:F#Min
% dorian/minor hexatonic
FG|A4  G>F|F2 C2  FG|A4  G>F|F4
EF|G4  F>E|E2 B,C EF|G4  F>E|E4
FG|A4  G>F|F2 C2  FG|A3B G>F|F4
G2|A3B ce |f4     e2|c3B G>F|F4|]

X: 115
T:Seal Fishers Song
S:NLS MS.10381 (Ann Dundas, Lausanne 1818)
M:6/8
L:1/8
Q:3/8=100
K:EMin
% dorian/minor hexatonic
Bdd dBA|dBA dBA|\
Bdd dBA|e2d e3:|
g2f g2a|e2d e3 |\
g2f g2a|e2d e3 |
a2e g2d|e2d BAG|\
Bdd dBA|dBA dBA|\
Bdd dBA|e2d e3|]

X: 116
T:The Banks of Spey
G:strathspey
C:William Marshall
M:4/4
L:1/8
Q:1/4=120
K:ADor
% dorian/minor hexatonic
A2 A>B A>Bc>e|d<cB>A G2G2|A2 A>B A>Bc>d|e>cde   g2g2 |
a>ge>c d<eg<a|e<gg>B G2GB|A<EA>B c>de>g|e<dc>B  A2Ac||
A<EA>c A<EA>c|B>cdB  G2GB|A<EA>c A<Ec>d|e>cde   g2g2 |
a>ge<c dega  |e<gg>B G2GB|A<EA>B c>de<g|e<dc>B  A2A2|]

X: 117
T:The Ale is Dear
G:reel for pipes or fiddle
M:4/4
L:1/8
Q:1/2=112
K:BMin
% dorian/minor hexatonic
e|f2ef B2fe|faef cAAe|f2ef B2fe|faec B3:|
c|B3 c d2cB|A3 B ABcA|B3 c d2cB|efec B3c|
  B3 c d2cB|A3 B ABcA|d2fd c2ec|efec B3|]

It's still commonly used in modern tunes:

X: 118
T:Brenda Stubbert's Reel
C:Jerry Holland, Cape Breton
N:the way it's played around Edinburgh - I've never seen an
N:intelligible written copy and only heard Brenda play it once
G:Cape Breton reel for fiddle
M:4/4
L:1/8
Q:1/2=112
K:AMin
% dorian/minor hexatonic
   B|A2BA GAAB|A2Bd eddB|G2BA BGGB|c2BA BGG
   B|A2BA GAAB|A2Bd edda|gedB GABd|e2dB BAA:|
   B|A2a2 A2g2|Aage aged|G2BA BGGB|c2BA BGG
[1 B|A2a2 A2g2|Aage agea|gedB GABd|e2dB BAA:|
[2 B|A2BA GAAB|A2Bd edda|gedB GABd|e2dB BAA|]

...like this one...

X: 119
T:Admiral On The Bow
C:Sandy Brechin, Edinburgh, 1990s 
L:1/4
M:4/4
Q:1/4=84
K:E Minor
% dorian/minor hexatonic
   E B A> B|B E E>  F |G G    F D|B,4|
   E B A> B|B E E>  F |G G    F D|E4:|
   B d d> e|d A A G/A/|B A/G/ F D|B,4|
[1 B d d> e|d A A G/A/|B A/G/ F D|E4:|
[2 E B A> B|B E E>  F |G G    F D|E4|]

...which happens to be remarkably similar to a mediaeval Norwegian ballad:

X: 120
T:Rolandskvadet
Z:Transcribed by Frank Nordberg - http://www.musicaviva.com
M:C
L:1/4
Q:1/4=120
K:EMin % Transposed from DMin
% dorian/minor hexatonic
B B/B/ B B|A G E E/D/|E E/E/ G A |B2 BB |
B B    G A|A E E E   |G G/G/ F D |E2 E2||
G G/G/ B B|A G G E   |E E    G A |B2 B2 |
B B    G A|A E E E   |G2    (F D)|E2 E2|]

Here is an example from 16th century France:

X: 121
T:Galliard "Because of the Traitor I Die"
S:Arbeau, Orchesography, 1589
M:6/2
L:1/2
Q:3/2=60
K:GMin
% dorian/minor hexatonic
ddc B2A|AGG F2D|ddc B2A|GGF G3:|
AAA c2c|ccc d2d|ddc B2A|GGF G3:|

A Breton lullaby:

X: 122
T:Toutouig
M:6/8
L:1/8
Q:3/8=60
K:AMin
% dorian/minor hexatonic
z|c2c B2B|A2A E2E|c2c BAG|A3- A2
A|ece dBd|cAc B2A|ece dBd|cAc B2
z|c2c B2B|A2A E2E|c2c BAG|A3- A2|]

A Finnish tune probably based on an 18th century Russian song:

X: 123
T:Ievan Polkka
M:2/4
L:1/16
Q:1/4=120
K:AMin
% dorian/minor hexatonic
A|E2A2 A3B |cAAA  A2cc|B2G2 G2BB|c2A2  A3
E|E2A2 A3B |cAAA  A2cc|e2d2 c2B2|cA2A- A3
c|e2e2 d2c2|B2G2  G2B2|d2d2 c2B2|B2G2  G3
B|e2ee d2c2|BG2G- G3B |d2d2 c2B2|cA2A- A3||

This is an example of it being used to imitate a folk idiom from
outside Scotland (but Gershwin's accompaniment tends to fill in
the gap, making the music sound Dorian more often than minor):

X: 124
T:Summertime
C:George Gershwin
M:C|
L:1/8
Q:1/2=72
K:AMin
% dorian/minor hexatonic
  e2  c2 |e8-          |ez  d>c d>e c2|A4   E4-|E2 z2
  e2  c2 |d d3-   d4   |z2  c>A c>A c2|B8-     |B4
  z e2  c|e e2 e- e4   |z2  d>c d>e c2|A4   E4-|E4
  z2  E2 |G2 EG   A2 c2|e d3    c4    |cA3- A4-|A8-  |A2 z2 z4|z4||
(3e2e2c2 |e2 e6        |z>e d>c d>e c2|A4   E4-|E3  z
  e2  c2 |d d2 d- d4   |z2  c>A c>A c2|B8-     |B4
  z e e c|e e3-   e4   |z2  d>c d>e c2|A4   E4-|E4
  z2  E2 |G2 EG   A2 c2|e d3    c4    |cA3- A4-|A8-  |A8-     |A8-|A6 z2|z8|z8|]

And here is a Chinese example:

X: 125
T:Dance of the Yao People
C:Liu Tieshan and Mao Yuan, 1952 
M:2/4
L:1/8
P:AABABCCAD
K:GMin
P:A
Q:1/4=76
Gd      dG         |(c3     B)|Ac      BA         |(G>F D2)|\
G>A     Bc         | df   (dc)|B(c/d/) cB         | G4    ||
P:B
Q:1/4=76
FF/G/   BG         | BB/c/ df |d(d/f/) c(d/f/)    | d4     |\
Gd      Gd         | Gc    Gc |B(c/d/) cB         | G4    ||
P:C
Q:1/4=120
Gd     (c/d/)(c/B/)| GB    G2 |Gd     (c/d/)(c/B/)| GB  G2 |\
G(G/B/) c(c/B/)    | cf    d2 |c(d/c/) B(c/B/)    | G2  G2||
P:D
Q:1/4=68
B2     (cd)        | c2    B2 |G4-                | G4    |]

X: 126
T:Dorian/Minor (6-gap, re/la) Hexatonic Scales
L:1/4
M:9/4
K:BbDor
"^B flat"  B2 cd efa b2|b2 af edc B2||
M:9/4
K:FDor
"^F"       F2 GA Bce f2|f2 ec BAG F2||
M:9/4
K:CDor
"^C"       C2 DE FGB c2|c2 BG FED C2||
M:9/4
K:GDor
"^G"       G2 AB cdf g2|g2 fd cBA G2||
M:9/4
K:DDor
"^D"       D2 EF GAc d2|d2 cA GFE D2||
M:9/4
K:AMin
"^A"       A2 Bc deg a2|a2 ge dcB A2||
M:9/4
K:EMin
"^E"       E2 FG ABd e2|e2 dB AGF E2||
M:9/4
K:BMin
"^B"       B2 cd efa b2|b2 af edc B2||
M:9/4
K:F#Min
"^F sharp" F2 GA Bce f2|f2 ec BAG F2||
M:9/4
K:C#Min
"^C sharp" C2 DE FGB c2|c2 BG FED C2|]

On the pipes, this mode usually takes the form of the B-final mode
in the G-gap hexatonic pitch set.

X: 127
T:Greenwoodside
G:pipe march
M:2/4
L:1/16
Q:1/4=86
K:BMin
% dorian/minor hexatonic, B-final G-gap hexatonic pitch set
   e2|B>BB>c B2A2|B>cd>e f4|e3f  e>fe>d|c2A2 A2
   f2|B2B>c  B2A2|B>cd>e f4|e2a2 f2ef  |d2B2 B2:|
   de|f3d    B2f2|B>BB>c f4|e3f  e>fe>d|c2A2 A2
[1 de|f3d    B2f2|B>BB>d f4|e2a2 f2ef  |d2B2 B2:|
[2 e2|B2B>c  B2A2|B>cd>e f4|e2a2 f2ef  |d2B2 B2|]

It can also be the E-final mode in the C-gap hexatonic pitch set, but
this is uncommon.

There are many tunes nearly in this mode, where the sixth is only used
as a passing note in scale patterns, like the inconspicuous c's in this:

X: 128
T:Contented wi' Little
T:Lumps of Pudding
N:to my thinking the greatest song Burns ever wrote; based on
N:a mildly bawdy Lowland song tune of the early 18th century
G:song
M:6/8
L:1/8
Q:3/8=90
K:EDor
E   |E>FE E<ed  |B>AB E2 G   |F>ED D<dB|AFA  D2
d/e/|f>ed B2e/d/|B>AF d2 d/c/|B>AF E>FA|B>AB E2||
B   |B<GB BGB   |B>AB E2 F/G/|AFA  AFA |A>FA D2
d/e/|f>ed B<ed  |B>AF d2 d/c/|BAF  EFA |B>AB E2|]

The gap sometimes got filled as tunes evolved.  "When She Cam Ben She
Bobbit", as it appeared in Burns and Johnson's Scots Musical Museum,
was dorian/minor hexatonic:

X: 129
T:When She Cam Ben She Bobbit
G:song from Midlothian
M:6/8
L:1/8
Q:3/8=84
K:EMin
B,|E>EE G2G|FD2 z2D|E>EE e2e|dB2 z2
z |d>ed d2B|A2G FGA|B2 B BAB|GE2 z2|]

In Allan's "110 Songs of Scotland" from the late nineteenth century and
intended to fit Lady Nairne's adapted words, it had gone into the minor,
though the sixth is still not an important note:

X: 130
T:The Laird of Cockpen
G:song
M:6/8
L:1/8
Q:3/8=84
K:EMin
B,|E>FE G2G|F>DD D2F   |E>FE e2e|d>BB B2
c |dGB  dcB|A>BG F2G/A/|B>cB BAB|G>EE E2|]

The dorian/minor hexatonic is one of the commonest scales in Europe.
Here's an example from the Middle Ages:

X: 131
T:Astra tenenti
S:The Play of Daniel, 13th century
M:6/4
L:1/4
Q:3/4=80
K:DDor
% dorian/minor hexatonic
DAA G2G|FAc G2G|EGF E2D|DCD G2F|EDF D2D|]

and from southern England in 1906:

X: 132
T:O Shepherd, O Shepherd, Will You Come Home
G:song
S:Vaughan Williams and Lloyd, Penguin Book of English Folk Songs
M:6/8
L:1/8
Q:3/8=100
K:GDor
% dorian/minor hexatonic
B|BBB Bcd|c2B A2||\
c|B2G GAG|F2D D2||
B|BBB BAB|c2c d2||\
c|BAG AGF|G3  G2|]

from 19th century America (this tune must be derived from the Scottish
song "John Anderson my Jo", though I don't know how it happened):

X: 133
T:When Johnny Comes Marching Home
G:marching song
M:6/8
L:1/8
Q:3/8=112
K:EMin
% dorian/minor hexatonic
e|Bee e2f|g2f g2e|d3- d2B|d3- d2
e|Bee e2f|g2f g2a|b3- b2a|b3- b2
a|b2b bag|a2a a2f|g2g gfe|f2f fga|
  b2b a2a|g2g f3 |Bee e2d|e3  e2|]

in Black America:

X: 134
T:Nobody Knows the Trouble I see, Lord!
S:The Story of the Jubilee Singers (1899)
N:not the well-known tune for this
M:2/4
L:1/16
K:CMin
c2c2 e2e2|c3B  G4  |B2B2  d2d2|c3B   G4 |
c2c2 e2e2|c3B  G2E2|G2G>F E2E2|FE2E  C4||
CE2F G3G |BGc2 BG3 |CE2F  G3E |FG2E  C4 |
CE2F G3G |BGc2 BG3 |CE2F  G2D2|C4    C4|]

and from Turkey, a lament for the young men of a village killed on the
Yemen front in WW1.  This is classified in the "huseyni" (dorian) mode
in Turkish books, since they don't usually acknowledge gapped scales.

X: 135
T:Havada Bulut Yok
T:There is No Cloud in the Sky
T:Yemen Song
S:composite of several sources
M:10/8
L:1/8
Q:5/8=36
K:DDor
  FG2 A2 A3 |A2 A3  AG GAG|G2 ccG G2 AFA|G2
  FG2 A2 A3 |A2 A3  AG GAG|G2 ccG G2 AFA|G2
  FG2 A2 A3 |A2 A3  AG GAG|G2 ccG G2 AFA|G2||
|:AAG GF A2G|G2 GGF FE G2E|F2
  FFE ED F2E|E2 FED D2 E2D|DD D3  DC D3-|D2:|

This mode was used for one of the most important examples in Western music
theory.  The "do-re-mi" note naming scheme was originally "ut-re-mi",
derived by Guido d'Arezzo from the first word in each of the six verse
lines in the hymn to St John the Baptist, "Ut queant laxis", which Guido
may have written himself.  Guido had no name for the B (later "si" or 
"ti") and it doesn't occur in the tune; early music theory used hexachords
rather than full-octave scales.

X: 136
T:Ut queant laxis
C:Guido d'Arezzo
M:none
L:1/1
Q:1/1=108
K:DDor % Fa3
 C D  F (D  E) D2   |\
 D D  C  D  E  E2   |
(E G) E (D  E) C  D2|\
 F G  A (G  F) D  D2|
(G A  G) E  F  G  D2|\
 A G  A  F (G  A) A2|
(G F) D  C  E  D2  |]


4. The Mixolydian/Dorian Hexatonic Mode
== ====================================

The MIXOLYDIAN/DORIAN HEXATONIC mode has the third omitted, giving an
interval sequence TmT TST.  On the white notes, it could either have
tonal centre D omitting the F, or tonal centre G omitting the B.  In
A it's ABde^fga.  So on the pipes, one form of it is in the A-mode in
the C-gap hexatonic pitch set; this occurs often.  The other is the
E-mode in the G-gap pitch set, and if there are any real examples of
it I can't find them.  In sol-fa it's either the so-mode with ti omitted
or the re-mode with fa omitted.

X: 137
T:The Mixolydian/Dorian (so/re) Hexatonic Scale
M:9/4
L:1/4
K:GMix
P:so -ti
"_so"G2 "_la"A "_do"c "_re"d "_mi"e "_fa"f "_so"g2 |\
"_so"g2 "_fa"f "_mi"e "_re"d "_do"c "_la"A "_so"G2||
P:re -fa
K:DDor
"_re"D2 "_mi"E "_so"G "_la"A "_ti"B "_do"c "_re"d2 |\
"_re"d2 "_do"c "_ti"B "_la"A "_so"G "_mi"E "_re"D2|]

X: 138
T:The Black Mull
T:The Muilean Dubh
S:NLS MS.21743, tunebook of Archibald Clark, fifer in the 42nd, 1813
G:reel for fife or flute
M:C|
L:1/8
Q:1/2=104
K:ADor
% mixolydian/dorian hexatonic
B|edef g2(fe)|dedB dedB|edef gage|dBgB A2A:|
B|eAed eAAB  |dGdB dGGB|eAed eAAf|gedB A2A:|

X: 139
T:A Man's a Man for A' That
G:song in march tempo taken from a pipe arrangement
M:2/4
L:1/8
Q:1/4=72
K:AMix
% mixolydian/dorian hexatonic; A-final C-gap
A|d>e dA|Bd e>g|f>e dA|B2 B>A|
  d>e dA|Bd e>g|f>e dB|A2 A :|
g|f>g af|gf e>g|f>g aA|B2 B>d|
  f>g af|gf e>g|f>e dB|A2 A :|

X: 140
T:Sir Colin
S:Kinsley, The Oxford Book of Ballads
G:ballad air
M:C
L:1/8
Q:1/4=90
K:DDor
% mixolydian/dorian hexatonic
B|c2  cc d2 d2|c2 e2  d4 |
  c2  c2 d2 d2|c2 e2  d3
c|A3   A G2 G2|A3  B Hc3
d|A2  A2 G2 cE|E3  E  D3|]

X: 141
T:Short Coated Mary
G:fiddle reel from the Western Isles
M:4/4
L:1/8
Q:1/2=116
K:EDor
% mixolydian/dorian hexatonic
E2B2 BABc|d2AF DEFD|E2B2 BABc|d2AF E2E2:|
d2dB e2e2|d2d2 FFFD|d2dB e2e2|d2AF E2E2 |
d2dB e2e2|d2d2 FFFD|E2B2 BABc|d2AF E2E2|]

X: 142
T:Hughie the Graeme
S:Scottish Folksinger
M:4/4
L:1/4
Q:1/2=80
K:DDor
% mixolydian/dorian hexatonic
c|cc    dd|ec d2|cc    dd|ec d>G|
  cB    AG|cB Ac|Bd    cA|GE D2||
  GG/G/ GD|EG Ad|cA/A/ AA|GE D2|]

X: 143
T:Bogie's Bonnie Belle
S:Belle Stewart
B:MacColl & Seeger, Till Doomsday in the Afternoon
M:4/4
L:1/8
Q:1/4=120
K:ADor
% mixolydian/dorian hexatonic
A2|A2A2 B2A2| G2F2 E2A,A,|D2D2  EF3  |A4  z2||
EF|G2F2 E2D2|(EA3) G2E2  |D2B,2 A,3A,|A,4 z2|]

An alternative version of "Bonnie Lass Among the Heather" (given
here earlier as an example of the Dorian mode) uses this gapped
scale:

X: 144
T:Queen Amang the Heather
G:song
S:MacColl and Seeger, Till Doomsday in the Afternoon
S:and what I remember of how Ted Polytello sang it
M:none
L:1/8
Q:1/4=88
K:DDor
cB|A2 A2 D2 (AG)|  E D3   C4   z2
cB|A2 A2 D2  D2 |(3c2c2A2 c d3-d2 z2
cB|A2 A2 D2 (AG)|  E D3   C4   z2
c2|d3  c A G2 c |  C3 D   E D3-D2 z2|]

X: 145
T:Murdo Mackenzie of Torridon
G:pipe march
M:6/8
L:1/8
S:Rebecca Knorr
Q:3/8=120
K:AMix
% mixolydian/dorian hexatonic; A-final C-gap
 e|Aee e3 |Aee dBg|GBd dBd|e<gG BAG |
   Aee e3 |Aee dBa|gfe deg|edB  A2 :|
 B|Aaa a3 |Aaa gea|gfe def|gGd  BAG |
[1 Aaa a3 |Aaa gea|gfe deg|edB  A2 :|
[2 e3  A2e|dBd e2a|gfe deg|edB  A2 ||
 B|A3  e3 |A2e dBg|B3  G3 |e<gG B>AG|
   A3  e3 |A2e dBa|gfe deg|edB  A2 :|
 B|AaA gAa|AgA aAa|gfe def|gGd  BAG |
[1 AaA gAa|AgA aAa|gfe deg|edB  A2 :|
[2 e3  A2e|dBd e2a|gfe deg|edB  A2 |]

An example from Hungary:

X: 146
T:Jaj de sokat arattam
G:song
B:Kodaly, Folk Music of Hungary
S:collected by Bartok in 1906 in Horgos (Csongrad County)
M:4/4
L:1/8
Q:1/4=76
K:GDor
% mixolydian/dorian hexatonic
eefg ecd2|cG3  G2z2 |\
ggec aag2|gd3  d2z2 |
ggec aag2|dfec d4   |\
eefg ecd2|cG3  G2z2|]

and a tune of English origin collected in America:

X: 147
T:The House Carpenter
S:Sharp & Karpeles, 80 English Folk Songs from the Southern Appalachians
M:3/2
L:1/4
Q:1/2=80
K:EDor
A   |       B3 F d c  |[M:2/2]B (F/E/) E
A   |[M:3/2]B3 F d c  |[M:2/2]B3
E   |       B B E A/F/|       D E B,
D/E/|[M:3/2]F E/E/ B3F|E3     z2|]

X: 148
T:Mixolydian/Dorian (3-gap, so/re) Hexatonic Scales
L:1/4
M:9/4
K:EbMix
"^E flat"  E2 FA Bcd e2|e2 dc BAF E2||
M:9/4
K:BbMix
"^B flat"  B2 ce fga b2|b2 ag fec B2||
M:9/4
K:FMix
"^F"       F2 GB cde f2|f2 ed cBG F2||
M:9/4
K:CMix
"^C"       C2 DF GAB c2|c2 BA GFD C2||
M:9/4
K:GMix
"^G"       G2 Ac def g2|g2 fe dcA G2||
M:9/4
K:DMix
"^D"       D2 EG ABc d2|d2 cB AGE D2||
M:9/4
K:ADor
"^A"       A2 Bd efg a2|a2 gf edB A2||
M:9/4
K:EDor
"^E"       E2 FA Bcd e2|e2 dc BAF E2||
M:9/4
K:BDor
"^B"       B2 ce fga b2|b2 ag fec B2||
M:9/4
K:F#Dor
"^F sharp" F2 GB cde f2|f2 ed cBG F2|]


5. The Lydian/Major Hexatonic Mode
== ===============================

The LYDIAN/MAJOR HEXATONIC mode omits the fourth, giving an interval
sequence TTm TTS.  On the white notes, it could either have tonal
centre C with F omitted, or tonal centre F with B omitted.  In A it's
AB^cef^ga.  In sol-fa it's either in the fa-mode with ti omitted or
the do-mode with fa omitted.

X: 149
T:The Lydian/Major (fa/ti) Hexatonic Scale
M:9/4
L:1/4
K:FLyd
P:fa -ti
"_fa"F2 "_so"G "_la"A "_do"c "_re"d "_mi"e "_fa"f2 |\
"_fa"f2 "_mi"e "_re"d "_do"c "_la"A "_so"G "_fa"F2|]
P:do -fa
K:C
"_do"C2 "_re "D "_mi"E "_so"G "_la"A "_ti"B "_do"c2 |\
"_do"c2 "_ti "B "_la"A "_so"G "_mi"E "_re"D "_do"C2|]

One of the best-known tunes in this mode is a strange-sounding piece
which may nevertheless be more traditional than it appears:

X: 150
T:Annie Laurie
G:song
B:Gall & Inglis: Select Songs of Scotland
C:Lady John Scott
M:2/4
L:1/8
Q:1/4=60
K:C
 z   |CC/C/ c>c  |BA z \
 A   |GE    ED/C/|D2 z
 E/D/|C>C   c>c  |BA z \
 A   |G>E   ED   |C2 z||
 G   |c>c   d>d  |e3   \
 G   |c>c   d>d  |e2
e>d  |c>B   Ac/A/|GE   \
E>D  |C/cE/ ED   |C3 |]

It occurs in these songs adapted by Burns, the first a traditional
Lowland piece and the second a new song to a Gaelic tune:

X: 151
T:Whistle O'er the Lave O't
G:song
M:4/4
L:1/8
Q:1/4=96
K:F
% lydian/major hexatonic
F>C  D<F A>GA2|c>dA>f G>FD2|F>CD<F A>GA>f|F<FA>F G2F2||
cd/e/f>c d>cA2|c>dA>f G>FD2|f>ad>f c>dA>f|F<FA>F G2F2|]

X: 152
T:How lang and dreary is the night
G:song
M:3/4
L:1/8
Q:1/4=80
K:E
% lydian/major hexatonic
E|  E>e e2  e2 |   e(d/c/) B3B|   c>d e3f|g2 c2 e>c|
 {c}B>G G2 (FE)|{E}F>G     B3c|{c}BG  c3B|B2 E2 e>c|
 {c}B>G G2 (FE)|{E}F>G     B3c|{c}BG  c3B|B2 E2   |]

and in the outer sections of this Shetland lament:

X: 153
T:Auld Swaara
G:lament for fiddle
N:the title refers to the sweater of a drowned fisherman
B:Tom Anderson & Pam Swing: Haand Me Doon Da Fiddle
M:2/4
L:1/8
Q:1/4=72
K:G
% lydian/major hexatonic
D| GG        (3 D(B,G,)|(3 D(GD)   (3(B,A,B,    |G,2) {c}(3(BAF)|\
   GG        (3 D(B,G,)|(3 D(GD)   (3(B,A,)B,   |DG         G  :|
% major
A|(G/F/E/D/) (3(CEC)   |(3(B,DB,)     A,>B,     |G,2  {c}(3(BAF)|\
  (G/F/E/D/) (3(CEC)   |(3(B,DB,)     A,>B,     |DG         G  :|
% lydian/major hexatonic
D|(G/F/E/D/)    Gg     |   e(d/B/)    d/(e/f/g/)|a2  ({A}(3 B)AF|\
  (G/F/E/D/)    Gg     |   e(d/B/) (3 d(gd)     |BG         G  :|

and there many near-examples where the fourth is barely perceptible:

X: 154
T:Last May a Braw Wooer
G:song
B:Gall & Inglis, Select Songs of Scotland
M:6/8
L:1/8
K:F
% almost lydian/major hexatonic
F|A>GA F>GF|A>GA F2 c/B/ |A>GA FAc|d3   c2c|
  c>de fed |c<fA G2(F/G/)|A2C  CDE|F>GA GFG|AcC C>FA|G3 F2|]

On the pipes it is theoretically possible as the D-mode using the
G-gap hexatonic pitch set, but I can't think of an example.  When
the G is omitted in a D-mode tune on the pipes, the C is too, to
make the tune pentatonic.  The first half of this tune is in this
mode, but the Gs in the second part fill in the gap:

X: 155
T:Invercauld
G:reel
S:Logan's Collection
M:2/4
L:1/16
Q:1/4=108
K:D
% lydian/major hexatonic
e2|A2d2   f2e>d|f2a2   f2e>d|A2d2  f2e>d|B2e2 e2d>B|
   A2d2   f2e>d|f2a2   f2e>d|B2e2  c2B<A|d4   d2  :|
% major
fg|a2d2   f2e>d|e>dc>B A2f<g|a2d2  f2e>d|B2e2 e2f>g|
[1 a2d2   f2e>d|e>dc>B A2c2 |B2e2  c2B<A|d4   d2  :|
[2 B<GB>c d2c>B|A2d2   f2e>d|B2e2  c2B<A|d4   d2  |]

And a hymn tune adopted by the Church of Ireland from an Irish folk tune:

X: 156
T:Be Thou My Vision
T:Slane
S:Church Hymnary, revised edition
M:3/2
L:1/4
Q:1/2=92
K:Eb
E2  E2  (FE)| C2  B,2 (B,C)|E2 E2 F2| G6     ||
F2  F2   F2 |(F2  G2)  B2  |c2 B2 G2| B6     ||
c2 (cd) (ed)|(c2  B2)  G2  |B2 E2 D2|(C4 B,2)||
E2  G2   B2 |(cB) G2  (EG) |F2 E2 E2| E6     |]

X: 157
T:Lydian/Major (4-gap, fa/ti) Hexatonic Scales
L:1/4
M:9/4
K:DbLyd
"^D flat"  D2 EF ABc d2|d2 cB AFE D2||
M:9/4
K:AbLyd
"^A flat"  A2 Bc efg a2|a2 gf ecB A2||
M:9/4
K:EbLyd
"^E flat"  E2 FG Bcd e2|e2 dc BGF E2||
M:9/4
K:BbLyd
"^B flat"  B2 cd fga b2|b2 ag fdc B2||
M:9/4
K:FLyd
"^F"       F2 GA cde f2|f2 ed cAG F2||
M:9/4
K:C
"^C"       C2 DE GAB c2|c2 BA GED C2||
M:9/4
K:G
"^G"       G2 AB def g2|g2 fe dBA G2||
M:9/4
K:D
"^D"       D2 EF ABc d2|d2 cB AFE D2||
M:9/4
K:A
"^A"       A2 Bc efg a2|a2 gf ecB A2||
M:9/4
K:E
"^E"       E2 FG Bcd e2|e2 dc BGF E2|]


6. The Minor/Phrygian Hexatonic Mode
== =================================

The MINOR/PHRYGIAN HEXATONIC mode has interval sequence mTT STT.  On the
white notes this could either have tonal centre A with B omitted or tonal
centre E with F omitted.  It's Acdefga in A.  In sol-fa it's either the
la-mode with ti omitted or the mi-mode with fa omitted.

X: 158
T:The Minor/Phrygian (la/mi) Hexatonic Scale
M:9/4
L:1/4
K:AMin
P:la -ti
"_la"A2 "_do"c "_re"d "_mi"e "_fa"f "_so"g "_la"a2 |\
"_la"a2 "_so"g "_fa"f "_mi"e "_re"d "_do"c "_la"A2||
K:EPhr
P:mi -fa
"_mi"E2 "_so"G "_la"A "_ti"B "_do"c "_re"d "_mi"e2 |\
"_mi"e2 "_re"d "_do"c "_ti"B "_la"A "_so"G "_mi"E2|]

It's not very common.  This is a guiser's song from the "Goloshins" New
Year drama.  It seems to be related to the "Ball of Kirriemuir" tune.

X: 159
T:Once I was Dead, Sir, but Now I am Alive
G:guising song
S:Katherine Campbell, The Fiddle in Scottish Culture, 2007
M:2/4
L:1/8
Q:1/4=100
K:EMin
z2 |A2  G>B|E2  E>E|G>G   G>A  |B2
z2 |cc  ce |d2  B>G|A>B   A>G  |E2
zE |G>G G>B|E>E E>E|GG    A2   |B2
zG |c>B c<e|d B2 G |A>B   A<G  |E2
B>A|G<G G<B|E<E EE |G>G   G<A  |B2
zB |cB  c<e|dB  zG |A/Bz/ A/Gz/|E2|]

This weird tune comes from a limited-circulation sheet published for
Alexander Campbell (later the editor of "Albyn's Anthology" of Highland
music) late in the 18th century.  It seems never to have been reprinted
since, and there's no indication of where Campbell got it, unless he
wrote it himself, which given his limited talents is unlikely.  It would
be a natural companion for one of the many reels in A major/mixolydian
hexatonic.

X: 160
T:Miss McLaine of Tarloisk's Strathspey
S:Alexander Campbell sheet with first tune Balthayoch House
B:NLS Glen.348(15)
N:another copy in Wighton Collection, Dundee
M:C
L:1/8
Q:1/4=88
K:F#Min
% minor/phrygian hexatonic
A>FE<C {C}E2E2|A<FF>E {E}F2F2|A>FEd {d}cB/A/B2|[BE][BE] {d}cB/A/ {A}F2F2||
E>F Ec/e/    d/c/B/A/ e3/c//A//|F<f     Tf>e      a>e f2|\
e2  d/c/B/A/ B/A/B/c/ e/d/c/B/ |c/e/f/e/ d/c/B/A/ F2  F2|
A>FE<C {C}E2E2|A<FF>E {E}F2F2|A>FEd {d}cB/A/B2|[BE][BE] {d}cB/A/    F2F2|]

This tune (somewhat more accessible, but not widely sung today) only has
the second as an unimportant leading note:

X: 161
T:O Poortith Cauld
S:222 Popular Scottish Songs with Music (1868)
N:words by Burns
M:3/4
L:1/8
Q:1/4=100
K:CMin
% essentially minor/phrygian hexatonic
E2 |E>E E2 e>c  |BG  F3G   |E>E      E3F|GC3
zD |E>E E2 ec   |B>G F3G   |E>E      E3F|GC3||
E2 |A>A A3  B   |AG  G3B   |G>F      F3G|Gc3
c>B|Bc  e2 ef/g/|fe  c3e/c/|B/G/F/E/ E3F|GC3|]

This is more familiar:

X: 162
T:Bide Ye Yet
S:Kerr's Merry Melodies book 1
N:originally known as "Hit Her on the Bum"
M:6/8
L:1/8
Q:3/8=116
K:EMin
% minor/phrygian hexatonic
d|BAB G2A|Bcd cBA|BAB G2A|B2e e2d|
  BAB G2A|Bcd cBA|BAB G2A|B2e e2:|
d|B2g g2d|B2d d2A|B2g gab|B2e e2d|
  B2g gab|Bcd cBA|BAG G2A|B2e e2:|

On the pipes minor/phrygian hexatonic can be the B-mode with the C-gap
hexatonic pitch set; the other way, as the F-mode on the G-gap set,
never occurs.

X: 163
T:He's Over the Hill that I Love Well
S:Cabar Feidh Collection
M:2/4
L:1/16
Q:1/4=84
K:BMin
   f>e|d2B2 B2A>B|G2B2   B2A>B |d2d>e f>de>f|A4 A2
[1 f>e|d2B2 B2A>B|G2B2   B2A>B |d2d>e f>de>f|B4 B2:|
[2 f>e|d2B2 B3A  |B2d2   e3f   |g2f>e g>fe>d|B4 B2||
   e>f|g3a  g2e2 |f>ef<a g>fe>f|d2d>e f>de>f|A4 A2
[1 e>f|g3a  g2e2 |f>ef<a g>fe>f|d2d>e f>de>f|B4 B2:|
[2 f>e|d2B2 B3A  |B2d2   e3f   |g2f>e g>fe>d|B4 B2|]

X: 164
T:Minor/Phrygian (2-gap, la/mi) Hexatonic Scales
L:1/4
M:9/4
K:FMin
"^F"       F2 AB cde f2|f2 ed cBA F2||
M:9/4
K:CMin
"^C"       C2 EF GAB c2|c2 BA GFE C2||
M:9/4
K:GMin
"^G"       G2 Bc def g2|g2 fe dcB G2||
M:9/4
K:DMin
"^D"       D2 FG ABc d2|d2 cB AGF D2||
M:9/4
K:AMin
"^A"       A2 cd efg a2|a2 gf edc A2||
M:9/4
K:EPhr
"^E"       E2 GA Bcd e2|e2 dc BAG E2||
M:9/4
K:BPhr
"^B"       B2 de fga b2|b2 ag fed B2||
M:9/4
K:F#Phr
"^F sharp" F2 AB cde f2|f2 ed cBA F2||
M:9/4
K:C#Phr
"^C sharp" C2 EF GAB c2|c2 BA GFE C2||
M:9/4
K:G#Phr
"^G sharp" G2 Bc def g2|g2 fe dcB G2|]


7. Summary of the Hexatonic Modes
== ==============================

X: 165
T:The Hexatonic Scales based on A
L:1/4
M:9/4
K:A
"^Lydian/Major Hexatonic"       A2 Bc efg a2|a2 gf ecB A2||
M:9/4
K:A
"^Major/Mixolydian Hexatonic"   A2 Bc def a2|a2 fe dcB A2||
M:9/4
K:ADor
"^Mixolydian/Dorian Hexatonic"  A2 Bd efg a2|a2 gf edB A2||
M:9/4
K:AMin
"^Dorian/Minor Hexatonic"       A2 Bc deg a2|a2 ge dcB A2||
M:9/4
K:AMin
"^Minor/Phrygian Hexatonic"     A2 cd efg a2|a2 gf edc A2|]

=============================================================================
==  (c) Jack Campin          http://www.campin.me.uk/         August 2013  ==
==        11 Third Street, Newtongrange, Midlothian EH22 4PU, Scotland     ==
==                                                                         ==
==              these pages: http://tinyurl.com/scottishmodes              ==
=============================================================================

=============================================================================
=               Scales and Modes in Scottish Traditional Music              =
=                                  Jack Campin                              =
=============================================================================


Pentatonic Modes
================

1. The Pentatonic Pitch Set
== ========================

The PENTATONIC pitch set omits pitches 5 and 12 from the diatonic pitch
set to leave five notes, 1 3 6 8 12 (or C D F G A in white notes, or only
the black notes).  Its intervals are three whole tones and two minor thirds,
no semitones.  There are three ways of getting transpositions of it from
the white notes of a piano:

   -mi -ti:   1  2  3  4  5  6  7  8  9 10 11 12
              C     D        F     G     A
             do    re       fa    so    la
                 T      m       T     T      m

   -fa -ti:   1  2  3  4  5  6  7  8  9 10 11 12
              C     D     E        G     A
             do    re    mi       so    la
                 T     T      m       T      m

   -do -fa:   1  2  3  4  5  6  7  8  9 10 11 12
                    D     E        G     A     B
                   re    mi       so    la    ti
                       T      m       T     T     m

It has different modes like the seven-note and six-note pitch sets. There
are three pentatonic modes used in Scottish music, and a fourth which has a
sort of theoretical existence.  There are countless other ways of selecting
five notes; none of them seem to have much place in Scottish tradition.  In
particular, the pentatonic pitch sets of African music typically don't fit
any Scottish tunes.

On the pipes, with their two-sharp scale, there are also three alternate
ways to get this pitch set.  One is the CF-gap set, GAB-de-ga.  Another is
the GC-gap set, AB-def-a.  The third possibility is the DG-gap pitch set,
ABc-ef-a.  Each of these can be used with a variety of tonal centres to get
different modes: and because of the limited range and non-uniform tuning of
the pipe chanter, each has a different effect.


2. The Mixolydian/Dorian/Minor Pentatonic Mode
== ===========================================

The MIXOLYDIAN/DORIAN/MINOR PENTATONIC mode has pitch 8 (G in this white-
note scale) as its home note.  That is, it's what you get from the black-note
scale by taking G sharp/A flat as the home note, or from the white-note
minor, dorian or mixolydian scales by leaving out the third and sixth.
Its interval sequence is TmT mT.  In Bronson's scheme it's pi-3.  In A, it's
ABdega.  This is a very common scale in Highland pipe music.  There are
three ways of looking at it in sol-fa.

X: 166
T:The Mixolydian/Dorian/Minor (so/re/la. pi-3) Pentatonic Scale
L:1/4
M:8/4
K:GMix
P:so -ti -mi
"_so"G2 "_la"A "_do"c "_re"d "_fa"f "_so"g2 |\
"_so"g2 "_fa"f "_re"d "_do"c "_la"A "_so"G2||
M:8/4
P:re -fa -ti
K:DDor
"_re"D2 "_mi"E "_so"G "_la"A "_do"c "_re"d2 |\
"_re"d2 "_do"c "_la"A "_so"G "_mi"E "_re"D2||
M:8/4
P:la -do -fa
K:AMin
"_la"A2 "_ti"B "_re"d "_mi"e "_so"g "_la"a2 |\
"_la"a2 "_so"g "_mi"e "_re"d "_ti"B "_la"A2|]

Hungarian musicologists simplify the naming of pentatonic modes by only
considering the pitch set do, re, mi, so, la.  (But "sol" rather than
"so", as in most European languages other than English).  So they call
this scale "re-pentatonic".

X: 167
T:Glen Lyon
T:Haughs of Cromdale
S:Kerr's Merry Melodies
M:4/4
L:1/8
Q:1/2=100
K:AMin
% A mixolydian/dorian/minor pentatonic
g|eA A/A/A edBd|BG G/G/G BABd|eA A/A/A edBd|edgB A3:|
g|edeg     abag|dgBg     dgBg|edeg     abag|edgB A3:|

Since both the C and F are missing, you might equally well find that tune
written with one or two sharps; they make no difference.  You could look at
this a different way by saying the tune could equally well be minor, dorian
or mixolydian; a pentatonic mode is ambiguous three ways if you see it as
a reduced form of a seven-note mode.

A bothy ballad from the north-east of Scotland:

X: 168
T:Lamachree and Megrum
S:Rymour Club Miscellanea v1 via McColl, Folk Songs and Ballads of Scotland
M:4/4
L:1/4
R:bothy ballad
Q:1/4=96
K:EMin
% E mixolydian/dorian/minor pentatonic
E|B,E   E>F    |E>F       B2 ||\
  A>B   E(E/F/)|E<D       B, ||
D|A,>B, DE     |DE        F2 ||\
  A2    D2     |(F<E) ({D}E2)|]

An example from the far south of Scotland:

X: 169
T:Hollin, green Hollin
S:C.K. Sharpe/Lady John Scott, NLS MS.843
M:3/4
L:1/8
Q:1/4=100
G:ballad
K:EMin
% mixolydian/dorian/minor pentatonic
D2|B,E E2 FE|DE F4|E2 E2 (EF)|A2 B2 dB|
   AB  d2 e2|dB e4|d2 B2 (BA)|F2 E2  |]

And a long example:

X: 170
T:Pipe Major Donald Maclean of Lewis
C:Pipe Major Donald Macleod
M:6/8
L:1/8
R:march
Q:3/8=84
K:AMix
% mixolydian/dorian/minor pentatonic, CF-gap A-final
e |A>BG A3  |e>dg e>dB|A>BA G2B |d2e  e>dB |
   A>BG A3  |e>dg e>dB|G>Bg e>dB|A3   A2  :|
g |a2e  e2g |a>ee e>dB|A>BA G2B |d2e  e>dB |
[1 a2e  e2g |a>ee e>dB|G>Bg e>dB|A3   A2  :|
[2 A>BG A3  |e>dg e>dB|G>Bg e>dB|A3   A2  ||
e |A>ee d>ee|A>ee e>dB|A>BA G>GG|B<de e>dB |
   A>ee d>ee|A>ee e>dB|G>Bg e>dB|A3   A2  :|
e |A2a  a>ga|g>ee e>dB|A>BA G2B |d2e  e>dB |
[1 A2a  a>ga|g>ee e>dB|G>Bg e>dB|A3   A2  :|
[2 A>BG A3  |e>dg e>dB|G>Bg e>dB|A3   A2  |]

An example from Cambodia:

X: 171
T:Prom Kut
G:song
B:Charles Haywood, Folk Songs of the World
M:C
L:1/8
Q:1/4=108
K:GMix
(D>F)|G2 G2 A>G (F>G)|A2 A2 D2  G2  | F2   F2 (D2 A2)|G2 G>G G>F D2 |
      F2 F2 F>G  F2  |D2 D2 D2 (F>G)|(F>G) A2  d2 c2 |A2 G2  G>G G2|]

from Transylvania around 1910:

X: 172
T:no title (number 96)
G:dance song
S:Bartok & Kodaly, Transylvanian Hungarian Folksongs
N:used by Dohnanyi in his suite "Ruralia Hungarica"
M:4/4
L:1/4
Q:1/2=120
K:GDor
% dorian/minor/phrygian pentatonic
g>gfg|fdcd|g>fdc|cdBB |
g>fdc|dcBd|d>dcd|GGGG|]

from 20th century America (well known in the British folk revival after
it was adopted for the ballad "Matty Groves"):

X: 173
T:Shady Grove
S:Singing Family of the Cumberlands, 1955
L:1/8
M:2/4
K:EMin
EE EE/E/|FE    D2|EE/E/ FA|B3B|d>d BB|A(F/E/) D2|EF/F/ AF|E4||
EE E2   |FE/E/ D2|E>E   FA|B4 |d>d B2|AF/E/   D2|EF/F/ AF|E4|]

and in another familiar American song (but the chorus changes mode):

X: 174
T:900 Miles
G:song
B:Reprints from "Sing Out" v4 (1962)
N:a bit different from the version I know orally, but in the same mode
M:C
L:1/8
Q:1/4=80
K:GDor
% dorian/minor/phrygian pentatonic
DF|AA GF A2 DF|A2 (3AGF D4   |d>d dc AG   Ac |d6 Ac|
   d2 dc A2 GF|A2 (3AGF D2 DF|A2  GF G2 (3AGF|D6  ||
|:DD|E>E E^C A,A, =B,C|D6:|


The transpositions of the mixolydian/dorian/minor pentatonic mode are:

X: 175
T:Mixolydian/Dorian/Minor (3,6-gap, so/re/la, pi-3) Pentatonic Scales
L:1/4
M:8/4
K:EbMix
"^E flat"  E2 FA Bd e2|e2 dB AF E2||
M:8/4
K:BbMix
"^B flat"  B2 ce fa b2|b2 af ec B2||
M:8/4
K:FMix
"^F"       F2 GB ce f2|f2 ec BG F2||
M:8/4
K:CMix
"^C"       C2 DF GB c2|c2 BG FD C2||
M:8/4
K:GMix
"^G"       G2 Ac df g2|g2 fd cA G2||
M:8/4
K:DDor
"^D"       D2 EG Ac d2|d2 cA GE D2||
M:8/4
K:AMin
"^A"       A2 Bd eg a2|a2 ge dB A2||
M:8/4
K:EMin
"^E"       E2 FA Bd e2|e2 dB AF E2||
M:8/4
K:BMin
"^B"       B2 ce fa b2|b2 af ec B2||
M:8/4
K:F#Min
"^F sharp" F2 GB ce f2|f2 ec BG F2||
M:8/4
K:C#Min
"^C sharp" C2 DF GB c2|c2 BG FD C2|]

One oddity of the piano keyboard layout may explain why the piano accordion
works so well for Highland pipe tunes.  The mixolydian/dorian/minor
pentatonic scale fits on the white notes no matter whether you use G, D or A
as the home note; this is one of the commonest scales in Highland music and
these are by far the commonest home notes any Scottish music uses.  Watch an
accordionist's fingers: when playing Highland music like pipe marches, the
black notes are rarely touched, despite frequent key changes.

In principle, there are three ways to get this mode on the pipes: by far the
commonest uses the A-mode with the CF-gap pitch set, but in principle it can
be fitted to the E-mode on the GC-gap set or the B-mode on the DG-gap set.

Tunes in this mode could often have the gap filled or created.  It is not
clear which of these (the same tune in two different rhythms) came first:

X: 176
T:Tha Mi Sgith
T:Cutting Bracken
G:strathspey
M:4/4
L:1/8
Q:1/4=120
K:AMin
% A mixolydian/dorian/minor pentatonic
A2 a2  g<eg2 |e>dB>A G>AB<G|
A2 a2  g<eg2 |e>dB<e A2 A2:|
e>dB>A G>AB<G|e>dB<A B<dd2 |
e>dB<A G>AB<G|e>dB<e A2 A2:|

X: 177
T:Drummond Castle
G:jig
M:6/8
L:1/8
Q:3/8=120
K:AMin
% dorian/minor hexatonic
E|ABA a3 |age g3 |c2c  edc|Bdg dBG|
  ABA a3 |age g3 |e>ge deg|edB A2:|
B|c2c cec|d2d ded|c2c  edc|Bdg dBG|
  c2c edc|deg a2g|ege  deg|edB A2:|


3. The Dorian/Minor/Phrygian Pentatonic Mode
== =========================================

The DORIAN/MINOR/PHRYGIAN PENTATONIC mode is what you get by playing on the
black notes of a piano taking E flat/D sharp as the home note.  Tunes in
this mode could be seen as being dorian, minor or phrygian; the second and
sixth are omitted.  Its interval sequence is mTTmT.  In A, it's Acdega.  It
is sometimes called "pentatonic minor".  On the pipes it can be played as
the E-mode in the CF-gap pitch set or as the B-mode in the GC-gap pitch set.
In sol-fa it can start on re, la or mi.  In Bronson's scheme it's pi-4.  In
the Hungarian system it's la-pentatonic.

X: 178
T:The Dorian/Minor/Phrygian Pentatonic (re/la/mi, pi-4) Scale
L:1/4
M:8/4
K:DDor
P:re -mi -ti
"_re"D2 "_fa"F "_so"G "_la"A "_do"c "_re"d2 |\
"_re"d2 "_do"c "_la"A "_so"G "_fa"F "_re"D2||
M:8/4
P:la -ti -fa
K:AMin
"_la"A2 "_do"c "_re"d "_mi"e "_so"g "_la"a2 |\
"_la"a2 "_so"g "_mi"e "_re"d "_do"c "_la"A2||
M:8/4
P:mi -fa -do
K:EPhr
"_mi"E2 "_so"G "_la"A "_ti"B "_re"d "_mi"e2 |\
"_mi"e2 "_re"d "_ti"B "_la"A "_so"G "_mi"E2|]

The second of these examples fits the chanter, though I haven't seen a pipe
setting of it.

X: 179
T:My Tocher's The Jewel
T:The Highway to Edinburgh
T:Thro' the Lang Muir
T:Here Awa There Awa Willie
T:The Collier's Rant
T:Lord Elcho
G:jig
M:6/8
L:1/8
Q:3/8=108
K:F#Min
% dorian/minor/phrygian pentatonic
F/E/|CFF  F2E|FAB cfe|c<cB A/B/cB|AEE E2E|
     CFF  F2E|FAB cfe|c<cf ecB   |AFF F2||
e   |e>fe ecA|Bce f2f|e>cB AcB   |AEE E2E|
     FAE  FAE|FAB cfe|c<cf ecB   |AFF F2|]

X: 180
T:Gentle Dark Eyed Mary
G:song
S:Kerr's Merry Melodies volume 1
M:C
L:1/8
Q:1/4=100
K:BMin
% dorian/minor/phrygian pentatonic
B>A f2 f>e f>a|f>d (3fed d2 ef|FA  B2 B>A Bd|e>d f>e dB Bd:|
B>A AA f2  ef |a>f (3fed d2 FA|B>B BB A2  Bd|e>d f>d B2 B2:|

X: 181
T:Lamentation for McDonald of Keppoch
S:Logan's Inverness Collection
M:9/8
L:1/8
Q:3/8=60
K:AMin
% dorian/minor/phrygian pentatonic
A3 A>GA c2c |    c2A A>GA G3|e3 e>de a2g|    e2d c>AG    A3 |
g3 age  g>ed|{cd}e2d c>AG G3|A3 A>GA c2d|{cd}e2d c>AG {G}A3|]

X: 182
T:Saw you my Love Migey Linken over the Lee
S:James Thomson's MS for the treble recorder, 1702
B:David Johnson, 21 Scots Tunes for the Treble Recorder
N:extensive ornamentation omitted, see Johnson's edition
M:3/4
L:1/8
Q:1/4=72
K:AMin
% dorian/minor/phrygian pentatonic
a>c'ag    ed/c/|g>age    dc       |a>c'ag     ed/c/   |d/c/d/e/ g/e/d/c/ A2||
Ac  cc/d/ ed/c/|Ad de/g/ a/g/a/c'/|Ac  cc'/a/ g/e/d/c/|d/c/d/e/ g/e/d/c/ A2|]

X: 183
T:Dorian/Minor/Phrygian (2,7-gap, re/la/mi, pi-4) Pentatonic Scales
L:1/4
M:8/4
K:BbDor
"^B flat"  B2 de fa b2|b2 af ed B2||
M:8/4
K:FDor
"^F"       F2 AB ce f2|f2 ec BA F2||
M:8/4
K:CDor
"^C"       C2 EF GB c2|c2 BG FE C2||
M:8/4
K:GDor
"^G"       G2 Bc df g2|g2 fd cB G2||
M:8/4
K:DDor
"^D"       D2 FG Ac d2|d2 cA GF D2||
M:8/4
K:AMin
"^A"       A2 cd eg a2|a2 ge dc A2||
M:8/4
K:EPhr
"^E"       E2 GA Bd e2|e2 dB AG E2||
M:8/4
K:BPhr
"^B"       B2 de fa b2|b2 af ed B2||
M:8/4
K:F#Phr
"^F sharp" F2 AB ce f2|f2 ec BA F2||
M:8/4
K:C#Phr
"^C sharp" C2 EF GB c2|c2 BG FE C2||
M:8/4
K:G#Phr
"^G sharp" G2 Bc df g2|g2 fd cB G2|]


4. The Lydian/Major/Mixolydian Pentatonic Mode
== ===========================================

The LYDIAN/MAJOR/MIXOLYDIAN pentatonic scale (with gaps at the 4th and 7th)
occurs frequently in pipe music.  Its interval sequence is TTmTm; in A it's
AB^ce^fa.  That's its usual form on the pipe chanter: A-mode in the DG-gap
pitch set.  It can also be D-mode in the GC-gap set.  In sol-fa it can begin
on so, do or la.  In Bronson's scheme it's pi-1.  In the Hungarian system
it's do-pentatonic.

X: 184
T:The Lydian/Major/Mixolydian (fa/do/so, pi-1) Pentatonic Scale
L:1/4
M:8/4
K:FLyd
P:fa -ti -mi
"_fa"F2 "_so"G "_la"A "_do"c "_re"d "_fa"f2 |\
"_fa"f2 "_re"d "_do"c "_la"A "_so"G "_fa"F2||
M:8/4
K:C
P:do -fa -ti
"_do"C2 "_re"D "_mi"E "_so"G "_la"A "_do"c2 |\
"_do"c2 "_la"A "_so"G "_mi"E "_re"D "_do"C2||
M:8/4
K:GMix
P:so -do -fa
"_so"G2 "_la"A "_ti"B "_re"d "_mi"e "_so"g2 |\
"_so"g2 "_mi"e "_re"d "_ti"B "_la"A "_so"G2|]

This is the classic example:

X: 185
T:Auld Lang Syne
M:2/4
L:1/8
Q:1/4=72
K:F
C|F>F FA|G>F GA|F>F Ac|d3
f|c>A AF|G>F GA|F>D DC|F3||
d|c>A AF|G>F GA|c>A Ac|d3
f|c>A AF|G>F GA|F>D DC|F3|]

And this is another of the best-known Scottish tunes in this mode, though
it may originally be English ("Lost is my quiet for ever"):

X: 186
T:Ye Banks and Braes of Bonnie Doon
G:song
S:G.F. Graham, Popular Songs and Melodies of Scotland
N:this book also gives the story of how Burns got it
M:6/8
L:1/8
Q:1/8=100
K:G
% lydian/major/mixolydian pentatonic
D   |G2G A>GA|BdB AGA |B>AG G<ED|DEG  A2
B/A/|G2G A>GA|BdB AGA |B>AG G<ED|DEG  G2||
B   |d2e dBG |d2e dBG |dBG  dBG |e>dB A2
B/A/|G2G A>GA|BdB A>GA|B>AG G<ED|DEG  G2|]

Here it is in a Highland song tune:

X: 187
T:Och! mar tha mi
T:How sad am I
S:Jane Fraser Morison's Book 1, c. 1882
M:3/4
L:1/8
Q:1/4=90
K:F
C>D F2 F2|GA d2 c2|FG A2 cA|GF {F}D2 F2 |
FC  D2 F2|GA c2 cc|df d2 Ac|A>G   F2 F2|]

This is a pipe march very popular on the Scottish session scene:

X: 188
T:Corriechoille's Farewell
G:march
M:2/4
L:1/8
Q:1/4=96
K:D
% lydian/major/mixolydian pentatonic, D-mode GC-gap
e|A>B Ad|e>d BA|d>e fa|fe ef|A>B Ad|e>d BA|d>e fa|fd d:|
f|a>f df|e>d BA|d>e fa|fe ef|A>B Ad|e>d BA|d>e fa|fd d:|

X: 189
T:Kenny Gillies of Portnalong, Skye
G:jig
S:Rory Campbell
M:6/8
L:1/8
Q:3/8=120
K:Amix
% lydian/major/mixolydian pentatonic, A-mode DG-gap
e||AAA e2c|efa f2e|faa AAA|fec cBB |
   AAA e2c|efa f2e|eff fec|BAA A3 :|
   a3  AAA|cea fee|faa AAA|fec cBB |
[1 a3  AAA|cea fee|eff fec|BAA A2e:|
[2 AAA e2c|efa f2e|eff fec|BAA A3 ||
   AAA cBc|AeA fee|faa AAA|fec cBB |
   AAA cBc|AeA fee|eff fec|BAA A2e:|
   c2e afa|Ace fee|faa AAA|fec cBB |
[1 c2e afa|Ace fee|eff fec|BAA A3 :|
[2 AAA cBc|AeA fee|eff fec|BAA A3 |]

The first three parts of this tune use the same mode:

X: 190
T:Father John MacMillan of Barra
G:march
M:2/4
L:1/16
Q:1/4=80
K:AMix
% lydian/major/mixolydian pentatonic, A-final DG-gap
   A>B|c2B<A  A2c<e |f2e<c e3f|e2c<A  A2f>e |c2B<A  B2A>B  |
       c2B<A  A2c<e |f2e<c e3f|e2c<A  B2c>B |A4     A2    :|
   c<e|f2e<e  e2f<a |f2e<c e3f|e2c<A  A2f>e |c2B<A  B2[1c<e|
       f2e<e  e2f<a |f2e<c e3f|e2c<A  B2c>B |A4     A2    :|
[2 A>B|c2B<A  c<ec<A|f2e<c e3f|e2c<A  B2c>B |A4     A2    ||
   A>B|c<Ac<e c2A>c |f2e<c e3f|a>fe<f c2f>e |c2B<A  B2A>B  |
       c<Ac<e c2A>c |f2e<c e3f|e2c<A  B2c>B |A4     A2    :|
% major/mixolydian hexatonic, A-final G-gap
   c<e|f2e>f  a>fe<f|f2A>c e3f|f2e>f  a>fe<f|c2B<A  B2c<e  |
       f2e>f  a>fe<f|f2e<c e3f|e2c<A  B2c>B |A4     A2c<e  |
       f2e>f  a>fe<f|f2A>c e3f|f2e>f  e>fa>e|c>de>c B2A>B  |
       c2B<A  c<ec<A|f2e<c e3f|e2c<A  B2c>B |A4     A2    |]

Other A-final tunes have the D and G in such inconspicuous places that nobody
but a piping contest judge would notice if you left them out and covered
their absence by holding the previous note, putting them entirely into the
same pentatonic mode.  In this tune they only occur as the second note of a
two-note upbeat:

X: 191
T:Old Toasty
G:hornpipe
S:Gordon Highlanders book 1
C:Angus Lawrie, Strathclyde Police
M:2/4
L:1/16
Q:1/4=92
K:AMix
   a2 |A2A2   c>BA>c|e2c<e  f2e>f|a2a2 f2e>f|a>fe>c B2
   a2 |A2A2   c>BA>c|e2c<e  f2e>f|a2a2 f2e>c|B2A2   A2:|
   f>g|a2a2   f2e>c |e>fa>e f2e>f|a2a2 f2e>f|a>fe>c B2
[1 f>g|a2a2   f2e>c |e>fa>e f2e>f|a2a2 f2e>c|B2A2   A2:|
[2 f>g|A2A2   c>BA>c|e2c<e  f2e>f|a2a2 f2e>c|B2A2   A2||
   a2 |c>cc>B A>AA>c|e2c<e  f2e>f|a2a2 f2e>f|a>fe>c B2
   a2 |c>cc>B A>AA>c|e2c<e  f2e>f|a2a2 f2e>c|B2A2   A2:|
   c>d|e>fe>c a2e2  |f>ga>f e2f>g|a2a2 f2e>f|a>fe>c B2
[1 c>d|e>fe>c a2e2  |f>ga>f e2f>g|a2a2 f2e>c|B2A2   A2:|
[2 c>d|A2A2   c>BA>c|e2c<e  f2e>f|a2a2 f2e>c|B2A2   A2|]

Some people call this "pentatonic major".  It is a strong enough feature
of Scottish music that tunes originally in seven-note modes have been
adapted to it in folk transmission.  "Miss Cruickshank's Reel", by William
Marshall (first published as "Miss Hopkins Reel" in 1781), was in the major
mode (originally in B flat - I've transposed it for easier comparison) the
way he wrote it:

X: 192
T:Miss Cruickshank's Reel
T:Miss Hopkins Reel (1781)
G:reel
S:William Marshall, 1822
M:C|
L:1/8
Q:1/2=108
K:A
EFAc d2df|ecBA BAFA|EFAc d2df|ecBc A/A/A A2:|
fgag fedc|BABc AFFe|fgag fedc|BABc A/A/A A2 |
fgag fedc|BABc AFFA|EFAB cdef|ecBc A/A/A A2|]

But as collected in Cape Breton in the twentieth century, it was changed
into the lydian/major/mixolydian pentatonic mode and transposed to A:

X: 193
T:Put Me in the Big Chest
T:Cuir a Chiste Mhoir Mi
G:reel
S:Dunlay & Reich, Traditional Celtic Fiddle Music of Cape Breton
M:C|
L:1/8
Q:1/2=108
K:AMix
% A lydian/major/mixolydian pentatonic, DG-gap
F|EFAB c2cf|ecBA F/F/F AF|EFAB c/c/c cf|ecBc A/A/A AF|
  EFAB c2cf|ecBA F/F/F AF|EFAB cB    cf|ecBc A/A/A A||
c|efec eAAc|efec BABc    |efec efaf    |ecBc A/A/A A:|

Here is the same mode in early 20th century America:

X: 194
T:Sourwood Mountain
G:dance song
B:Richard Chase: American Folk Tales and Songs
M:C
L:1/4
Q:1/2=120
K:Eb
% lydian/major/mixolydian pentatonic
G<B B/B/B|c e    BG |B>B Bc/c/|G/G/ F/F/ E2 |
GG  G   E|F E/E/ CB,|E>E Ec/c/|B/B/ G/F/ E2|]

and in Aboriginal Australia:

X: 195
T:Honey-Ant Song of Ljaba
O:Central Australia
G:song
B:Charles Haywood, Folk Songs of the World
M:6/8
L:1/8
Q:3/8=108
K:C
% lydian/major/mixolydian pentatonic
e|(2(ed) (dc)c|c2c c3| c2 c c2:|
e|(2(ed) (dc)c|c2c c3| c2 c c2c|
  (2(AG) (GE)E|E2E E3|(ED)D C2E|
     E3   E2 E|E2E E3|(ED)C C2C|
     C3   C2 C|C2C C3| C2 C C2E|
     E3   E2 E|E2E E3|(ED)C C2C|
     C3   C2 C|C2C C3| C2 C C3|]

Here's a bagpipe tune intended to sound Chinese.  It works since the pentatonic
scale used is one also found in Chinese music.

X: 196
T:The Chow Man
S:Scots Guards Standard Settings of Pipe Tunes book 2
C:Pipe Sergeant E. MacDonald
H:Composed at Lo Wu Camp, South China during the tour
H:of duty of 2nd Battalion Scots Guards 1927-29
M:2/4
L:1/16
Q:1/4=88
K:D
% lydian/major/mixolydian pentatonic
 e2|A2B<d B2A2 |B2d2  e4   |f2e>f a3f  |e2`d2     e2f2|
    A2B<d B2A2 |B2d2  e2d<e|f2e>d B2A>B|d4        d2 :|
 e2|f2a2  f2e<d|e2a2  f4   |e2a2  f2e<d|e>dB<d [1 A3e |
    f2a2  f2e<d|e2d<B A2d<e|f2e>d B2A>B|d4        d2 :|
                                               [2 A2f2|\
    A2B<d B2A2 |B2d2  e2d<e|f2e>d B2A>B|d4        d2 |]

X: 197
T:Lydian/Major/Mixolydian (4,7-gap, fa/do/so, pi-1) Pentatonic Scales
L:1/4
M:8/4
K:DbLyd
"^D flat"  D2 EF AB d2|d2 BA FE D2||
M:8/4
K:AbLyd
"^A flat"  A2 Bc ef a2|a2 fe cB A2||
M:8/4
K:EbLyd
"^E flat"  E2 FG Bc e2|e2 cB GF E2||
M:8/4
K:BbLyd
"^B flat"  B2 cd fg b2|b2 gf dc B2||
M:8/4
K:FLyd
"^F"       F2 GA cd f2|f2 dc AG F2||
M:8/4
K:C
"^C"       C2 DE GA c2|c2 AG ED C2||
M:8/4
K:GMix
"^G"       G2 AB de g2|g2 ed BA G2||
M:8/4
K:DMix
"^D"       D2 EF AB d2|d2 BA FE D2||
M:8/4
K:AMix
"^A"       A2 Bc ef a2|a2 fe cB A2||
M:8/4
K:EMix
"^E"       E2 FG Bc e2|e2 cB GF E2||
M:8/4
K:BMix
"^B"       B2 cd fg b2|b2 gf dc B2|]


5. The Major/Mixolydian/Dorian Pentatonic Mode
== ===========================================

The MAJOR/MIXOLYDIAN/DORIAN PENTATONIC mode is what you get by playing on
the black notes of the piano, taking C sharp as the home note.  It could
be taken as being major, mixolydian or dorian; the third and seventh are
missing.  Its interval sequence is TmTTm; in A it's ABde^fa.  It could be
done on the pipes as the A-mode with the GC-gap pitch set, or the D-mode
with the CF-gap set.  It's the rarest of all modes in Scottish music; some
pipe tunes come close for long stretches, but where there are notes that
bridge the gaps, they matter.  In sol-fa, it can start on do, so or re.  In
Bronson's scheme it's pi-2.  In the Hungarian system it's sol-pentatonic.

X: 198
T:The Major/Mixolydian/Dorian (do/so/re, pi-2) Pentatonic Scale
L:1/4
M:8/4
K:C
P:do -mi -ti
"_do"C2 "_re"D "_fa"F "_so"G "_la"A "_do"c2 |\
"_do"c2 "_la"A "_so"G "_fa"F "_re"D "_do"C2||
M:8/4
K:GMix
P:so -ti -fa
"_so"G2 "_la"A "_do"c "_re"d "_mi"e "_so"g2 |\
"_so"g2 "_mi"e "_re"d "_do"c "_la"A "_so"G2||
M:8/4
K:DDor
P:re -fa -do
"_re"D2 "_mi"E "_so"G "_la"A "_ti"B "_re"d2 |\
"_re"d2 "_ti"B "_la"A "_so"G "_mi"E "_re"D2|]

In the Carnatic music theory of south India this is the secondary
raga "Arabhi" (associated with the morning and a mood of mystery).
The only Scottish example I could find was this ballad tune from
the North-East:

X: 199
T:The Baron o' Brackley
S:Christie via "101 Scottish Songs"
M:3/4
L:1/8
Q:1/4=120
K:DMix
D2 |G2 A2 B>A|G>A B2 B>A|G2 D2 G>D|E4
D>E|G2 A2 B>A|G>A B2 B>A|G2 E2 E>D|D4
B<d|e2 A2 G<E|G>A B2 B<d|e2 A2 A>G|BA3
B>d|e2 A2 BA |G>E G2 B>A|G2 E2 E<D|D4|]

which seems to be related to this American song in the same mode:

X: 200
T:Pretty Saro
M:3/4
L:1/8
Q:1/4=90
K:D
DE|G2 DE DE|G2 A2 AG |E2 D2 GG|D4
DE|G2 D2 DE|G2 A2 dd |B2 G2 B2|A4
G2|A2 d2 dB|A2 G2 A>B|AA G2 E2|D4
D2|E2 A3  B|A2 G2 AG |E2 D2 G2|D4|]

though it could be argued that both are really in G lydian/major/
mixolydian pentatonic but end on the fifth.

This might be a better example, in that the seventh is not essential
to the tune, only occurring as a passing note on descending phrases:

X: 201
T:Milking Croon
S:Kennedy-Fraser, Songs of the Hebrides
G:milking song from South Uist
M:7/4
L:1/8
Q:1/2=80
K:F Mixolydian
DF|B2 cd F2 F2 F2 F2 de|f2 ed   cB    c2 dc B2
fe|d2 fB BF F2 F2 F2 DF|B2 cc (3dcB   GF F2 F2||
DF|B2 cd F2 F2 F2 F2 de|f2 ed   cB    c2 dc B2
fe|d2 fF F2 F2 F2 F2 DF|B2 cc (3dcB   GF F2 F2||
DF|B2 cd F2 F2 F2 F2 de|f2 ed   cB    c2 dc B2
fe|d2 fB BF F2 F2 F2 DF|B2 cc   d/c/B GF F2 F2|]

It slightly resembles this unmistakable example from the Chuvash, a Turkic
people of the southern Volga:

X: 202
T:Chuvash song
S:Lajos Vargjas, Folk Music of the Hungarians
M:C|
L:1/8
Q:1/4=120
K:F
df f(f/d/) cc c2|Bd dd/B/ BB B2 |
Bc cc/B/   GG G2|GB BB/G/ FF F2|]

There may be some association between this mode and the "selchie" legends
of the northern islands.  This is the original tune for a famous ballad,
now usually sung to a tune composed by James Waters in the US in the 1950s:

X: 203
T:The Grey Selchie of Sule Skerrie
S:David Thomson, The People of the Sea
N:sung in 1938 by John Sinclair of Flotta, Orkney, to Otto Andersson
M:none
L:1/8
Q:1/4=80
K:DMix
 A2  G>E D2>> B,2 B,>D E4
 A2  G>E D (E/F/) G> A B4
 d2  dc  B3     A G D  E4
(EA) AA  B3     A G E  D4|]

The third and seventh only occur as unimportant passing notes.

Kennedy-Fraser recorded this tune in Uist, used for a story/song in which
a seal-woman escapes back to sea after being trapped in marriage for years
on land.  It's in the dorian/minor/phrygian pentatonic mode, but you could
see the middle phrase as going into the major/mixolydian/dorian:

X: 204
T:The Seal-Woman's Sea-Joy
S:David Thomson, The People of the Sea
N:from Marjorie Kennedy-Fraser; collected in Uist
M:3/4
L:1/4
Q:3/4=70
K:DDor
|: (A3    |D3)|   (A3    |G3)|({d}A3    |D3)|C C2|D3:|
%
({A}G F) G|A3 |({A}G F) G|A3 |({A}G F) G|A3 |C C2|C3||
%
|: (A3    |D3) |  (A3    |G3)|({d}A3    |D3)|C C2|D3:|

Kennedy-Fraser claimed that she sang that to a seal once, and the seal
sang back to her, a narrow-range melody in the sol-pentatonic mode:

X: 205
T:the seal's reply
S:David Thomson, The People of the Sea
N:from Marjorie Kennedy-Fraser; sung by a seal
M:C|
L:1/4
Q:1/2=50
K:CMix
G3 A/G/|F2 d2|c4-|c4|]

X: 206
T:Major/Mixolydian/Dorian (3,7-gap, do/so/re, pi-2) Pentatonic Scales
L:1/4
M:8/4
K:Ab
"^A flat"  A2 Bd ef a2|a2 fe dB A2||
M:8/4
K:Eb
"^E flat"  E2 FA Bc e2|e2 cB AF E2||
M:8/4
K:Bb
"^B flat"  B2 ce fg b2|b2 gf ec B2||
M:8/4
K:F
"^F"       F2 GB cd f2|f2 dc BG F2||
M:8/4
K:C
"^C"       C2 DF GA c2|c2 AG FD C2||
M:8/4
K:GMix
"^G"       G2 Ac de g2|g2 ed cA G2||
M:8/4
K:DDor
"^D"       D2 EG AB d2|d2 BA GE D2||
M:8/4
K:ADor
"^A"       A2 Bd ef a2|a2 fe dB A2||
M:8/4
K:EDor
"^E"       E2 FA Bc e2|e2 cB AF E2||
M:8/4
K:BDor
"^B"       B2 ce fg b2|b2 gf ec B2||
M:8/4
K:F#Dor
"^F sharp" F2 GB cd f2|f2 dc BG F2|]


7. Summary of the Pentatonic Modes
== ===============================

X: 207
T:The Pentatonic Modes based on A
L:1/4
M:8/4
K:A
"^Lydian/Major/Mixolydian Pentatonic"  A2 Bc ef a2|a2 fe cB A2||
M:9/4
K:AMix
"^Major/Mixolydian/Dorian Pentatonic"  A2 Bd ef a2|a2 fe dB A2||
M:9/4
K:ADor
"^Mixolydian/Dorian/Minor Pentatonic"  A2 Bd eg a2|a2 ge dB A2||
M:9/4
K:AMin
"^Dorian/Minor/Phrygian Pentatonic"    A2 cd eg a2|a2 ge dc A2|]

One trick that harpists can use for some pentatonic modes: for the
lydian/major/mixolydian mode, the unused 4th and 7th strings can be
retuned upwards by a tone, and for the dorian/minor/phrygian mode,
the unused 2nd and 6th strings can be retuned downwards by a tone.
This duplicates the tonal centre and the fifth, which can give added
resonance to the sound in the most important places.  This can't be
done with sharpening levers, so you probably wouldn't want to do it
in live performance, but it might be worth trying for a recording.

=============================================================================
==  (c) Jack Campin         http://www.campin.me.uk/        November 2010  ==
==        11 Third Street, Newtongrange, Midlothian EH22 4PU, Scotland     ==
==                                                                         ==
==              these pages: http://tinyurl.com/scottishmodes              ==
=============================================================================

=============================================================================
=               Scales and Modes in Scottish Traditional Music              =
=                                  Jack Campin                              =
=============================================================================


Misleading Final Notes
======================

In most European art music, the final note of a tune is its tonal centre.
In many Scottish tunes, it isn't; this is very often the case with dance
tunes intended to be repeated indefinitely in a circular pattern, but it
often occurs with songs as well.  Probably the commonest type are those
ending on the third:

X: 208
T:The Campbells are Comin'
G:song or jig
S:222 Popular Scottish Songs with Music (1868)
N:this tune has probably the most complicated history and the most
N:alternate titles of anything in Scottish musical tradition
M:6/8
L:1/8
Q:3/8=120
K:D
D|FAB  AFD |F2F  F2E|FAB AFD |E2E E2D|
  FAB  AFD |F>GF def|dBd AFD |F2F F2||
A|d2d  d>ef|A2A  AFD|d2d d>ef|B2B B2A|
  A>Bc d>cB|A>Bc def|dBd AFD |F2F F2|]

X: 209
T:The Shepherd's Dochter
S:Kinsley, The Oxford Book of Ballads
M:C
L:1/8
Q:1/4=100
K:D
 A   |d>e f(e/f/) af          e(d/B/)|d>e  f(e/f/)   a3
 z/A/|d>e f(e/f/) ae          e(f/e/)|dB  (B/c/d/e/) f3||
 z/e/|dB  Bd     (e/d/)(e/f/) e(f/e/)|dB  (B/c/d/e/) f2
fe   |dB  Bd     (e/d/)(e/f/) e(f/e/)|dB  (B/c/d/e/) f3|]

It's sometimes said that you don't want to end a lullaby on the tonal
centre because the finality of that might wake the baby up:

X: 210
T:The Highland Balou
B:Ewan MacColl, Personal Choice
M:C
L:1/8
Q:1/4=80
K:D
F>D F>D F>D F<A|G>F G>A B>A B<d|
D>E DF  G>A F2 |G>G AA  E>G F2|]

The fifth is also common.  This tune is in mixolydian/major hexatonic
ending on the fifth above the tonal centre:

X: 211
T:The Deil's Awa wi th' Exciseman
G:song or jig
M:6/8
L:1/8
Q:3/8=120
K:G
G|G2d d>ed|c2B A2c|d2G G2A|B3 d2:|
d|B2B G2B |A2A D2B|d2G G2A|B3 d2:|

This is mixolydian/dorian hexatonic but ends on the fifth:

X: 212
T:Besuthian
G:New Year guising song from Banff
S:Katherine Campbell, The Fiddle in Scottish Culture, 2007
M:6/8
L:1/8
Q:3/8=92
K:EDor
c|d2c BBA|Bcd F2
F|E3  D2E|F3  A2
A|A2d F2E|D2E FF
A|E2E FEA|B3- B2|]

This tune is in mixolydian/major hexatonic but ends on the fourth
below the tonal centre:

X: 213
T:Mairi's Wedding
G:dance song
M:4/4
L:1/8
Q:1/4=120
K:G
D>DDE GAB2|AGEG BAB2 |
D>DDE GAB2|AGEC D2D2||
d>dde dcB2|AGEG BAB2 |
d>dde dcB2|AGEC D2D2|]

This ancient Shetland ballad tune is mixolydian/minor/dorian hexatonic
and ends on the fifth:

X: 214
T:King Orfeo
G:ballad air
S:Kinsley, Oxford Book of Ballads
M:C
L:1/8
Q:1/4=80
K:DDor
G2|AG Ac d<e d2   |cA GE D3
 C|CC cA AG  A/GE/|DC DE G A3|]

This Shetland fiddle march is really in D major, but ends on A:

X: 215
T:Da Mill
G:march, sort of
S:Tom Anderson, Haand me Doon Da Fiddle
M:4/4
L:1/8
Q:1/4=112
K:AMix
ABcd e2f2|d2d>d d2fe|dcBA   ABcA  |B2E>E E2ec|
dcBA ABcA|d2d>d d2fe|dcBA (3Bcd cB|A2A<B A4 :|
ecAc ecAc|fdBd  fdBd|AFDF   AFDF  |BGEG  BGE2|
ecAB ecef|d2dd  d2fe|dcBA (3Bcd cB|A2A<B A4 :|

And this Shetland wedding march song tune is minor/dorian hexatonic
ending on the fifth:

X: 216
T:Noo Mun I Lave Faither an Mither
G:Shetland wedding march
S:Katherine Campbell, The Fiddle in Scottish Culture, 2007
M:6/8
L:1/8
Q:3/8=80
K:GMin
  G2A B2B|BcB AG
F|G2A B2B|BcB BA
z|G2A B2B|c2c d2
B|BAG GFD|F2F D3|]

From the other end of Scotland, this hexatonic Border tune ends on
the fifth:

X: 217
T:Braw, Braw Lads o Galla Water
G:song
M:4/4
L:1/8
Q:1/4=124
K:D
% lydian/major hexatonic
F2 E>D D3F|A3  B A<FE>D|F2 E2  E2 F>A|B>Ad>c B2 AA |
A2 Bc  d3e|f>edB d3   F|F2 E>F E2 F>A|d3   c B2 A2|]

This major/mixolydian hexatonic song ends on the fifth below:

X: 218
T:Macpherson's Rant
M:C
L:1/8
Q:1/4=100
K:F
CD|F3C F2 A2|GF GA G2 CD|F3A BA GF|D6
CD|F3C F2 GF|A2 G2 G2 CD|F3A GF D2|C6||
AB|c3A BA GF|A2 G2 G2 AB|c3c BA GF|D6
d2|c3A BA GF|A2 G2 G2 CD|F3A GF D2|C6|]

This ballad tune (one of the oldest known) is centred on D at the
start of each line and through most of the central part, but ends
with a bar in A major.  It's hexatonic, and the missing G adds to
the ambiguity.

X: 219
T:Greysteil
S:Straloch lute MS, 1627; probably as sung to James IV in 1497
B:Robert Chambers, Book of Days, volume 1, for April 17
M:C
L:1/4
Q:1/4=120
K:D
F>F F d    |c>B A F|E>E E d    |c B A2 |
F>F F d    |c>B A F|E>E E d    |c B A2 |
d D A(B/c/)|d c B A|d D A(B/c/)|d c B A|
f>f f f    |f f f f|e>e e d    |c B A2 |
d D A B/c/ |d c B A|d D A(B/c/)|d c B A|
F>F F d    |c>B A F|E>E E d    |c B A2 |
F>F F d    |c>B A F|E>E E d    |c B A2|]

This tune is in the minor mode with tonal centre D but ends on A:

X: 220
T:Bat' an Aisig
T:The Ferry Boat
G:rowing song
S:Angus Fraser Collection
M:3/4
L:1/4
Q:1/4=150
K:DMin
A2 G|   A<D z|F2 G|A2  A/z/ |\
A f2|   e2  c|d2 e|f<A z    |
A2 G|   A<D z|F2 G|A2  A/z/||\
A2 A|   A2  G|A2 c|d2  c/z/ |
B2 A|{A}G2  F|F2 A|G<B z    |\
A2 G|   A<D z|F2 G|A2  A/z/ |
A f2|   e2  c|d2 e|f<A z    |\
A2 G|   A<D z|F2 G|A2  A/z/|]

Another minor-mode tune from the Western Isles with a phrygian final:
 
X: 221
T:Lament for Macleod
G:song
S:Frances Tolmie: 105 Songs of Occupation from the Western Isles of Scotland
M:C
L:1/8
Q:1/4=80
K:EMin
 gf |e2 (ed)     B2  Be|(ed) (3(BAG)  G2  GA|B2 (AB) E2 E2|    B,6||
(dc)|B2 (AG) ({G}F2) GE|(ED)    B,A,  B,2 Bd|e2 (ed) B2 A2|({A}B6)|]

This ballad was probably based on a real incident from the Scottish
Lowlands, but is now best known in English versions, including this
one, which Vaughan Williams thought was Phrygian.  I can't imagine
why.  It's really in C minor with a dominant ending.

X: 222
T:The Trees They Grow So High
S:Penguin Book of English Folk Songs
M:6/8
L:1/8
Q:3/8=60
K:CMin
 c   | B2G  E2G|(B2c) c2 c|(FG)A (GF)E|C3  z2
 E   | E2E  E2F| G2G (GF)E| F2 G (FE)D|C3  z2
 c/c/|(B2G) E2G| B2c  c2 c|(FG)A (GF)E|C3  z
CD   | E2F  E2D| C3   C2 C| C3    G3- |G3- G2|]

This unusual tune from the Western Isles (a song with words from a
poetic tradition common to Gaelic Scotland and Ireland) seems to be
centred on F, but never really cadences on it and ends on the dominant
as if in C phrygian:

X: 223
T:Deirdre's Farewell to Scotland
M:3/4
L:1/4
Q:1/4=100
K:FMin
(e> c) B|A2 A|B2 A|G A> z|(F> G) B|c2 c| c2   B|c2 z|
(F A)  d|f2 f|e2 c|B A> z|(f e)  c|B2 A|(B A) B|c3 |]

The Highland sword dance tune is in A mixolydian, but ends on E:

X: 224
T:Ghillie Callum
G:set dance
M:C|
L:1/8
Q:1/4=120
K:AMix
A<Ac>A d2B<G|A<Ac>A e2 c<A|e2c<A  d2 B<G|A<Ac>A d<Be2:|
A<Ac>A g2B<G|A<Ac>e a>ba>f|g>ag>e d<gB<G|A<Ac>A d<Be2 |
A<Ac>A g2B<G|A<Ac>e a>ba>f|g<be<g d<gB<G|A<ag>e d<Be2|]

This Lowland ballad tune (in an over-complicated 19th century transcription)
does the same:

X: 225
T:Sir Patrick Spens
S:Christie's Traditional Ballad Airs
M:C
L:1/8
Q:1/4=80
K:AMix
(E>F)|     G2  G2      G2   (GA/B/)|    (AF) (FE/F/) ({F}A2)\
 A>F |({G} F2) E2      E2   (EF)   |(({F}A3)   F)        E2
(E>F)|({EF}G2) G>A     B2   (G/A/B)|     AF  (FE/F/) ({F}A2)\
 A>F |({G} F2) E2      E2   (cB)   |    (A3    F)        F2||
zc |   c2      c2      d3     c    |     B2 B>c      ({c}e3)\
 d |  (dc)    (BA) ({F}E3)    F    |(({F}A3    F))       E2
zc |   c2      c2      d2    dc    |     d2  (de/f/) ({f}e3)\
 d |  (dc)    (BA) ({F}E2)  (cB)   |    (A3    F)        E2|]

This basically hexatonic pipe tune ends on E but is really A-final:

X: 226
T:Jock Wilson's Ball
G:reel
M:C|
L:1/8
Q:1/2=100
K:AMix
% mixolydian/dorian hexatonic, A-final G-gap (one inconspicuous g)
B|d2c2 B2f2 |Bcde  f>BB>c|d2 c2  B2f2 |A2e>A c<AA :|
B|d2a2 f2e<f|d2f>e f>BB>c|d2 a2  f2e<f|A2e>A c<AA>B|
  d2a2 f2e<f|d2f>e f>BB>c|d>ef>g a2a>f|e2e>d c<ee |]

An E-final dorian mode pipe march ending on B:

X: 227
T:Duntroon
S:Scots Guards pipe tune book
M:C
L:1/8
Q:1/2=92
% slower than many people play it, but the tune gets lost at high speed
K:EDor
e2c<e  f2 d<f|e2 c<e A<Ac2|e2 c<e f2 c<e|d2 G<d B<GB2 |
e2c<e  f2 d<f|f>ec<e A<Ac2|d>ef>d c2 e>c|B>cd>B G<GB2||
e>Ae>c A>Bc>d|e>fe>c A<Ac2|e>Ae>c A>Bc>A|B>cd>B G<GB2 |
e>Ae>c A>Bc>d|e<ae>c A<Ac2|d>ef>d c2 e>c|B>cd>B G<GB2||
A<Ac<A c<Ac<A|A<Ac<A c<Ac2|A<Ac<A c<Ac<A|B<GG<G B<GB2 |
A<Ac<A c<Ac<A|A<Ac<e e>Ac2|d>ef>d c2 e>c|B>cd>B G<GB2||
e<ag<a e>Ac<A|e<ag<a e>Ac2|e<ag<a e>AB<A|B<GG<G B<GB2 |
e<ag<a e>Ac<A|e<ag>f e>Ac2|d>ef>d c2 e>c|B>cd>B G<GB2|]

One of the most-sung tunes of the early 18th century, a Baroque-influenced
drinking song in G dorian but ending on A as if it were in D minor:

X: 228
T:A health to Beattie
S:NLS MS.5778
M:6/4 % "3|" in original
L:1/4
K:G Dor
G|G(AG) F2D|B2B A2F|Bcd   cdB | f3   d2
f|fd2   B2B|cA2 F2F|G(AG) F>ED|(B2c) A2|]

The most disconcerting of all would appear from the final note to be in the
Locrian mode, but is obviously in G major:

X: 229
T:Souters of Selkirk
G:jig
M:9/8
L:1/8
Q:3/8=132
K:G
A|Bde dBg  dBG|Bde dBg  f2
A|Bde dBg  dBG|cde dBg  f2:|
A|GBd g>fe dcB|GBd g>fe f2
A|GBd g>fe dcB|cde dBg  f2:|

This Shetland tune appears to be centred on G, but begins with the tonal
centre on E and ends on the dominant:

X: 230
T:Da Shaalds o Foula
G:jig
M:6/8
L:1/8
Q:3/8=120
K:GMix
% lydian/major/mixolydian pentatonic
D|E2G G2e|edB BAG|G2B A2B|G2A GED|
  E2G G2e|edB BAG|G2B A2B|d3  D2:|
D|edB ABd|edB ABd|g2B A2B|G2A GED|
  edB ABd|edB ABd|g2B A2B|d3  D2:|

Pibroch can have a greater degree of ambiguity.  While the pipes always
provide an A on the drones, this is not always the tonal centre of the
melody played over them, and this piece seems to have no tonal centre at
all, floating from one to the next in a repetitive pattern like that of
English bellringing.  The "words" at the right are in canntaireachd, the
syllabic notation used to record and transmit pipe music until about 1800;
they describe the pitches and the gracenotes, but not the exact rhythm of
the piece.

X: 231
T:Cha Till Mac Cruimein
T:Mac Crimmon Will Never Return
G:piobaireachd
C:attr. Donald Ban Mac Crimmon, 1745; certainly not by him
B:Logan's Bagpipe Tutor
M:6/8
L:1/16
Q:6/16=40
R:pibroch
K:AMix
% C-gap hexatonic pitch set
P:Ground
e{AfA}e3f2 {g}B4f2|  {g}e4f2 {g}eA3{d}B2 |  % edreve hiove, cheve cheento,
e{AfA}e3f2 {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % edreve hiove, cheve cheemto,
e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2||  % edreve hiode, trae  haento;
e{AfA}e3f2 {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % edreve hiove, cheve cheemto,
e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dG3{d}B2 |  % edreve hiode, trae  haemto,
e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2||  % edreve hiode, trae  haento;
e{AfA}e3f2 {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % edreve hiove, cheve cheemto,
e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2|]  % edreve hiode, trae  haento.
P:Variation 1
e{AfA}e3a2    B4f2|  {g}e4a2    eA3{d}B2 |  % edreI  hiove, cheI  deento,
e{AfA}e3a2    B4f2|  {g}e4a2    eG3{d}B2 |  % edreI  hiove, cheI  deemto,
e{AfA}e3a2    B4e2|{Adc}d4a2    dA3{d}B2||  % edreI  hiode, traI  aento;
e{AfA}e3a2    B4f2|  {g}e4a2    eG3{d}B2 |  % edreI  hiove, cheI  deemto;
e{AfA}e3a2    B4e2|{Adc}d4a2    dG3{d}B2 |  % edreI  hiode, traI  aemto,
e{AfA}e3a2    B4e2|{Adc}d4a2    dA3{d}B2||  % edreI  hiode, traI  aento;
e{AfA}e3a2    B4f2|  {g}e4a2    eG3{d}B2 |  % edreI  hiove, cheI  deemto,
e{AfA}e3a2    B4e2|{Adc}d4a2    dA3{d}B2|]  % edreI  hiode, traI  aento.
P:Variation 2
{g}e4f2    {g}B4f2|  {g}e4f2 {g}eA3{d}B2 |  % cheve  hiove, cheve cheento,
{g}e4f2    {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % cheve  hiove, cheve cheemto,
{g}e4f2    {g}B4e2|{Adc}d4e2 {g}dA3{d}B2||  % cheve  hiode, trae  haento;
{g}e4f2    {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % cheve  hiove, cheve cheemto,
{g}e4f2    {g}B4e2|{Adc}d4e2 {g}dG3{d}B2 |  % cheve  hiode, trae  haemto,
{g}e4f2    {g}B4e2|{Adc}d4e2 {g}dA3{d}B2||  % cheve  hiode, trae  haento;
{g}e4f2    {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % cheve  hiove, cheve cheemto,
{g}e4f2    {g}B4e2|{Adc}d4e2 {g}dA3{d}B2|]  % cheve  hiode, trae  haento.
P:Doubling of Var 2
{g}e4d2    {g}e4B2|  {g}e4f2 {g}eA3{d}B2 |  % chea   cheo,  cheve cheento,
{g}e4d2    {g}e4B2|  {g}e4f2 {g}eG3{d}B2 |  % chea   cheo,  cheve cheemto,
{g}e4d2    {g}e4B2|{Adc}d4e2 {g}dA3{d}B2||  % chea   cheo,  trae  haento;
{g}e4d2    {g}e4B2|  {g}e4f2 {g}dG3{d}B2 |  % chea   cheo,  cheve cheemto,
{g}e4d2    {g}e4B2|{Adc}d4e2 {g}dG3{d}B2 |  % chea   cheo,  trae  haemto,
{g}e4d2    {g}e4B2|{Adc}d4e2 {g}dA3{d}B2||  % chea   cheo,  trae  haento;
{g}e4d2    {g}e4B2|  {g}e4f2 {g}eG3{d}B2 |  % chea   cheo,  cheve cheemto,
{g}e4d2    {g}e4B2|{Adc}d4e2 {g}dA3{d}B2|]  % chea   cheo,  trae  haento.
P:Ground
e{AfA}e3f2 {g}B4f2|  {g}e4f2 {g}eA3{d}B2 |  % edreve hiove, cheve cheento,
e{AfA}e3f2 {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % edreve hiove, cheve cheemto,
e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2||  % edreve hiode, trae  haento;
e{AfA}e3f2 {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % edreve hiove, cheve cheemto,
e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dG3{d}B2 |  % edreve hiode, trae  haemto,
e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2||  % edreve hiode, trae  haento;
e{AfA}e3f2 {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % edreve hiove, cheve cheemto,
e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2|]  % edreve hiode, trae  haento.

An outlaw ballad from the Hungarian "Csango" minority in Romanian
Moldavia.  The centre on C (with G as a dominant) is set up in the
first three lines, then the last line ends on the third:

X: 232
T:Elment a madarka
S:Csango Hungarian singers from Fundu Racaciuni, Romania
N:not the usual tune found elsewhere for this song
Z:Jack Campin
M:3/2
L:1/4
Q:1/2=80
K:CMix
C2 DE FG|DC2- C2z |
G2 AG BA|G2 G2 z2 |
c2 BA BA|GA E D2z |
A2 GF GF|E2 E2 z2||

A tune from ancient Greece, inscribed on a stone pillar in what is now
western Turkey about 100AD:

X: 233
T:Scholion of Seikilos
M:6/8
L:1/8
Q:3/8=44
K:AMix
Ae2 e3   |(cde)  d3  |c2d e(dc)|cA2 (BG2)  |
Ace d(cd)| cA2  (BG2)|AcB dec  |AA2  A(FE)|]

And here's what may be the oldest known example of a misleading final, in
a dorian/minor/phrygian pentatonic tune from ancient China (the tonal
centre is obviously D):

X: 234
T:Entrance Hymn for the Emperor
C:anon, Chinese, possibly 1000 BC
S:Davidson and Apel, Historical Anthology of Music
M:4/4
L:1/4
Q:1/2=60
K:DDor
D D A C|D2  D C|A c d c|A4    |\
G F D C|A2  D C|A c d c|A4    |
G F D C|A2  D C|A c d c|A2 G F|\
D2  C A|C D C A|G4    |]

This Slovenian tune shows clearly how a misleading final can develop.
The last line has been cut off short (a common feature of Slovenian
songs) before it can descend to the B flat as it does in the second
line, leaving a tune which at first sight looks as if it's G phrygian:

X: 235
T:Je bela cesta vglajena
S:Zbrala Dusica Kunaver, Slovenian Customs and Songs
M:3/4
L:1/4
Q:3/4=60
K:BbMix
G|B2 B|(B A) G|F2 B|A2
B|d2 d|(d c) A|G2 c|B2
G|B2 B|(B A) G|F2 B|A2
B|d2 d|(d c) A|G2 |]

=============================================================================
==  (c) Jack Campin         http://www.campin.me.uk/          August 2013  ==
==        11 Third Street, Newtongrange, Midlothian EH22 4PU, Scotland     ==
==                                                                         ==
==              these pages: http://tinyurl.com/scottishmodes              ==
=============================================================================

=============================================================================
=               Scales and Modes in Scottish Traditional Music              =
=                                  Jack Campin                              =
=============================================================================


Misleading Final Notes
======================

In most European art music, the final note of a tune is its tonal centre.
In many Scottish tunes, it isn't; this is very often the case with dance
tunes intended to be repeated indefinitely in a circular pattern, but it
often occurs with songs as well.  Probably the commonest type are those
ending on the third:

X: 236
T:The Campbells are Comin'
G:song or jig
S:222 Popular Scottish Songs with Music (1868)
N:this tune has probably the most complicated history and the most
N:alternate titles of anything in Scottish musical tradition
M:6/8
L:1/8
Q:3/8=120
K:D
D|FAB  AFD |F2F  F2E|FAB AFD |E2E E2D|
  FAB  AFD |F>GF def|dBd AFD |F2F F2||
A|d2d  d>ef|A2A  AFD|d2d d>ef|B2B B2A|
  A>Bc d>cB|A>Bc def|dBd AFD |F2F F2|]

X: 237
T:The Shepherd's Dochter
S:Kinsley, The Oxford Book of Ballads
M:C
L:1/8
Q:1/4=100
K:D
 A   |d>e f(e/f/) af          e(d/B/)|d>e  f(e/f/)   a3
 z/A/|d>e f(e/f/) ae          e(f/e/)|dB  (B/c/d/e/) f3||
 z/e/|dB  Bd     (e/d/)(e/f/) e(f/e/)|dB  (B/c/d/e/) f2
fe   |dB  Bd     (e/d/)(e/f/) e(f/e/)|dB  (B/c/d/e/) f3|]

It's sometimes said that you don't want to end a lullaby on the tonal
centre because the finality of that might wake the baby up:

X: 238
T:The Highland Balou
B:Ewan MacColl, Personal Choice
M:C
L:1/8
Q:1/4=80
K:D
F>D F>D F>D F<A|G>F G>A B>A B<d|
D>E DF  G>A F2 |G>G AA  E>G F2|]

The fifth is also common.  This tune is in mixolydian/major hexatonic
ending on the fifth above the tonal centre:

X: 239
T:The Deil's Awa wi th' Exciseman
G:song or jig
M:6/8
L:1/8
Q:3/8=120
K:G
G|G2d d>ed|c2B A2c|d2G G2A|B3 d2:|
d|B2B G2B |A2A D2B|d2G G2A|B3 d2:|

This is mixolydian/dorian hexatonic but ends on the fifth:

X: 240
T:Besuthian
G:New Year guising song from Banff
S:Katherine Campbell, The Fiddle in Scottish Culture, 2007
M:6/8
L:1/8
Q:3/8=92
K:EDor
c|d2c BBA|Bcd F2
F|E3  D2E|F3  A2
A|A2d F2E|D2E FF
A|E2E FEA|B3- B2|]

This tune is in mixolydian/major hexatonic but ends on the fourth
below the tonal centre:

X: 241
T:Mairi's Wedding
G:dance song
M:4/4
L:1/8
Q:1/4=120
K:G
D>DDE GAB2|AGEG BAB2 |
D>DDE GAB2|AGEC D2D2||
d>dde dcB2|AGEG BAB2 |
d>dde dcB2|AGEC D2D2|]

This ancient Shetland ballad tune is mixolydian/minor/dorian hexatonic
and ends on the fifth:

X: 242
T:King Orfeo
G:ballad air
S:Kinsley, Oxford Book of Ballads
M:C
L:1/8
Q:1/4=80
K:DDor
G2|AG Ac d<e d2   |cA GE D3
 C|CC cA AG  A/GE/|DC DE G A3|]

This Shetland fiddle march is really in D major, but ends on A:

X: 243
T:Da Mill
G:march, sort of
S:Tom Anderson, Haand me Doon Da Fiddle
M:4/4
L:1/8
Q:1/4=112
K:AMix
ABcd e2f2|d2d>d d2fe|dcBA   ABcA  |B2E>E E2ec|
dcBA ABcA|d2d>d d2fe|dcBA (3Bcd cB|A2A<B A4 :|
ecAc ecAc|fdBd  fdBd|AFDF   AFDF  |BGEG  BGE2|
ecAB ecef|d2dd  d2fe|dcBA (3Bcd cB|A2A<B A4 :|

And this Shetland wedding march song tune is minor/dorian hexatonic
ending on the fifth:

X: 244
T:Noo Mun I Lave Faither an Mither
G:Shetland wedding march
S:Katherine Campbell, The Fiddle in Scottish Culture, 2007
M:6/8
L:1/8
Q:3/8=80
K:GMin
  G2A B2B|BcB AG
F|G2A B2B|BcB BA
z|G2A B2B|c2c d2
B|BAG GFD|F2F D3|]

From the other end of Scotland, this hexatonic Border tune ends on
the fifth:

X: 245
T:Braw, Braw Lads o Galla Water
G:song
M:4/4
L:1/8
Q:1/4=124
K:D
% lydian/major hexatonic
F2 E>D D3F|A3  B A<FE>D|F2 E2  E2 F>A|B>Ad>c B2 AA |
A2 Bc  d3e|f>edB d3   F|F2 E>F E2 F>A|d3   c B2 A2|]

This major/mixolydian hexatonic song ends on the fifth below:

X: 246
T:Macpherson's Rant
M:C
L:1/8
Q:1/4=100
K:F
CD|F3C F2 A2|GF GA G2 CD|F3A BA GF|D6
CD|F3C F2 GF|A2 G2 G2 CD|F3A GF D2|C6||
AB|c3A BA GF|A2 G2 G2 AB|c3c BA GF|D6
d2|c3A BA GF|A2 G2 G2 CD|F3A GF D2|C6|]

This ballad tune (one of the oldest known) is centred on D at the
start of each line and through most of the central part, but ends
with a bar in A major.  It's hexatonic, and the missing G adds to
the ambiguity.

X: 247
T:Greysteil
S:Straloch lute MS, 1627; probably as sung to James IV in 1497
B:Robert Chambers, Book of Days, volume 1, for April 17
M:C
L:1/4
Q:1/4=120
K:D
F>F F d    |c>B A F|E>E E d    |c B A2 |
F>F F d    |c>B A F|E>E E d    |c B A2 |
d D A(B/c/)|d c B A|d D A(B/c/)|d c B A|
f>f f f    |f f f f|e>e e d    |c B A2 |
d D A B/c/ |d c B A|d D A(B/c/)|d c B A|
F>F F d    |c>B A F|E>E E d    |c B A2 |
F>F F d    |c>B A F|E>E E d    |c B A2|]

This tune is in the minor mode with tonal centre D but ends on A:

X: 248
T:Bat' an Aisig
T:The Ferry Boat
G:rowing song
S:Angus Fraser Collection
M:3/4
L:1/4
Q:1/4=150
K:DMin
A2 G|   A<D z|F2 G|A2  A/z/ |\
A f2|   e2  c|d2 e|f<A z    |
A2 G|   A<D z|F2 G|A2  A/z/||\
A2 A|   A2  G|A2 c|d2  c/z/ |
B2 A|{A}G2  F|F2 A|G<B z    |\
A2 G|   A<D z|F2 G|A2  A/z/ |
A f2|   e2  c|d2 e|f<A z    |\
A2 G|   A<D z|F2 G|A2  A/z/|]

Another minor-mode tune from the Western Isles with a phrygian final:
 
X: 249
T:Lament for Macleod
G:song
S:Frances Tolmie: 105 Songs of Occupation from the Western Isles of Scotland
M:C
L:1/8
Q:1/4=80
K:EMin
 gf |e2 (ed)     B2  Be|(ed) (3(BAG)  G2  GA|B2 (AB) E2 E2|    B,6||
(dc)|B2 (AG) ({G}F2) GE|(ED)    B,A,  B,2 Bd|e2 (ed) B2 A2|({A}B6)|]

This ballad was probably based on a real incident from the Scottish
Lowlands, but is now best known in English versions, including this
one, which Vaughan Williams thought was Phrygian.  I can't imagine
why.  It's really in C minor with a dominant ending.

X: 250
T:The Trees They Grow So High
S:Penguin Book of English Folk Songs
M:6/8
L:1/8
Q:3/8=60
K:CMin
 c   | B2G  E2G|(B2c) c2 c|(FG)A (GF)E|C3  z2
 E   | E2E  E2F| G2G (GF)E| F2 G (FE)D|C3  z2
 c/c/|(B2G) E2G| B2c  c2 c|(FG)A (GF)E|C3  z
CD   | E2F  E2D| C3   C2 C| C3    G3- |G3- G2|]

This unusual tune from the Western Isles (a song with words from a
poetic tradition common to Gaelic Scotland and Ireland) seems to be
centred on F, but never really cadences on it and ends on the dominant
as if in C phrygian:

X: 251
T:Deirdre's Farewell to Scotland
M:3/4
L:1/4
Q:1/4=100
K:FMin
(e> c) B|A2 A|B2 A|G A> z|(F> G) B|c2 c| c2   B|c2 z|
(F A)  d|f2 f|e2 c|B A> z|(f e)  c|B2 A|(B A) B|c3 |]

The Highland sword dance tune is in A mixolydian, but ends on E:

X: 252
T:Ghillie Callum
G:set dance
M:C|
L:1/8
Q:1/4=120
K:AMix
A<Ac>A d2B<G|A<Ac>A e2 c<A|e2c<A  d2 B<G|A<Ac>A d<Be2:|
A<Ac>A g2B<G|A<Ac>e a>ba>f|g>ag>e d<gB<G|A<Ac>A d<Be2 |
A<Ac>A g2B<G|A<Ac>e a>ba>f|g<be<g d<gB<G|A<ag>e d<Be2|]

This Lowland ballad tune (in an over-complicated 19th century transcription)
does the same:

X: 253
T:Sir Patrick Spens
S:Christie's Traditional Ballad Airs
M:C
L:1/8
Q:1/4=80
K:AMix
(E>F)|     G2  G2      G2   (GA/B/)|    (AF) (FE/F/) ({F}A2)\
 A>F |({G} F2) E2      E2   (EF)   |(({F}A3)   F)        E2
(E>F)|({EF}G2) G>A     B2   (G/A/B)|     AF  (FE/F/) ({F}A2)\
 A>F |({G} F2) E2      E2   (cB)   |    (A3    F)        F2||
zc |   c2      c2      d3     c    |     B2 B>c      ({c}e3)\
 d |  (dc)    (BA) ({F}E3)    F    |(({F}A3    F))       E2
zc |   c2      c2      d2    dc    |     d2  (de/f/) ({f}e3)\
 d |  (dc)    (BA) ({F}E2)  (cB)   |    (A3    F)        E2|]

This basically hexatonic pipe tune ends on E but is really A-final:

X: 254
T:Jock Wilson's Ball
G:reel
M:C|
L:1/8
Q:1/2=100
K:AMix
% mixolydian/dorian hexatonic, A-final G-gap (one inconspicuous g)
B|d2c2 B2f2 |Bcde  f>BB>c|d2 c2  B2f2 |A2e>A c<AA :|
B|d2a2 f2e<f|d2f>e f>BB>c|d2 a2  f2e<f|A2e>A c<AA>B|
  d2a2 f2e<f|d2f>e f>BB>c|d>ef>g a2a>f|e2e>d c<ee |]

An E-final dorian mode pipe march ending on B:

X: 255
T:Duntroon
S:Scots Guards pipe tune book
M:C
L:1/8
Q:1/2=92
% slower than many people play it, but the tune gets lost at high speed
K:EDor
e2c<e  f2 d<f|e2 c<e A<Ac2|e2 c<e f2 c<e|d2 G<d B<GB2 |
e2c<e  f2 d<f|f>ec<e A<Ac2|d>ef>d c2 e>c|B>cd>B G<GB2||
e>Ae>c A>Bc>d|e>fe>c A<Ac2|e>Ae>c A>Bc>A|B>cd>B G<GB2 |
e>Ae>c A>Bc>d|e<ae>c A<Ac2|d>ef>d c2 e>c|B>cd>B G<GB2||
A<Ac<A c<Ac<A|A<Ac<A c<Ac2|A<Ac<A c<Ac<A|B<GG<G B<GB2 |
A<Ac<A c<Ac<A|A<Ac<e e>Ac2|d>ef>d c2 e>c|B>cd>B G<GB2||
e<ag<a e>Ac<A|e<ag<a e>Ac2|e<ag<a e>AB<A|B<GG<G B<GB2 |
e<ag<a e>Ac<A|e<ag>f e>Ac2|d>ef>d c2 e>c|B>cd>B G<GB2|]

One of the most-sung tunes of the early 18th century, a Baroque-influenced
drinking song in G dorian but ending on A as if it were in D minor:

X: 256
T:A health to Beattie
S:NLS MS.5778
M:6/4 % "3|" in original
L:1/4
K:G Dor
G|G(AG) F2D|B2B A2F|Bcd   cdB | f3   d2
f|fd2   B2B|cA2 F2F|G(AG) F>ED|(B2c) A2|]

The most disconcerting of all would appear from the final note to be in the
Locrian mode, but is obviously in G major:

X: 257
T:Souters of Selkirk
G:jig
M:9/8
L:1/8
Q:3/8=132
K:G
A|Bde dBg  dBG|Bde dBg  f2
A|Bde dBg  dBG|cde dBg  f2:|
A|GBd g>fe dcB|GBd g>fe f2
A|GBd g>fe dcB|cde dBg  f2:|

This Shetland tune appears to be centred on G, but begins with the tonal
centre on E and ends on the dominant:

X: 258
T:Da Shaalds o Foula
G:jig
M:6/8
L:1/8
Q:3/8=120
K:GMix
% lydian/major/mixolydian pentatonic
D|E2G G2e|edB BAG|G2B A2B|G2A GED|
  E2G G2e|edB BAG|G2B A2B|d3  D2:|
D|edB ABd|edB ABd|g2B A2B|G2A GED|
  edB ABd|edB ABd|g2B A2B|d3  D2:|

Pibroch can have a greater degree of ambiguity.  While the pipes always
provide an A on the drones, this is not always the tonal centre of the
melody played over them, and this piece seems to have no tonal centre at
all, floating from one to the next in a repetitive pattern like that of
English bellringing.  The "words" at the right are in canntaireachd, the
syllabic notation used to record and transmit pipe music until about 1800;
they describe the pitches and the gracenotes, but not the exact rhythm of
the piece.

X: 259
T:Cha Till Mac Cruimein
T:Mac Crimmon Will Never Return
G:piobaireachd
C:attr. Donald Ban Mac Crimmon, 1745; certainly not by him
B:Logan's Bagpipe Tutor
M:6/8
L:1/16
Q:6/16=40
R:pibroch
K:AMix
% C-gap hexatonic pitch set
P:Ground
e{AfA}e3f2 {g}B4f2|  {g}e4f2 {g}eA3{d}B2 |  % edreve hiove, cheve cheento,
e{AfA}e3f2 {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % edreve hiove, cheve cheemto,
e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2||  % edreve hiode, trae  haento;
e{AfA}e3f2 {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % edreve hiove, cheve cheemto,
e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dG3{d}B2 |  % edreve hiode, trae  haemto,
e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2||  % edreve hiode, trae  haento;
e{AfA}e3f2 {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % edreve hiove, cheve cheemto,
e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2|]  % edreve hiode, trae  haento.
P:Variation 1
e{AfA}e3a2    B4f2|  {g}e4a2    eA3{d}B2 |  % edreI  hiove, cheI  deento,
e{AfA}e3a2    B4f2|  {g}e4a2    eG3{d}B2 |  % edreI  hiove, cheI  deemto,
e{AfA}e3a2    B4e2|{Adc}d4a2    dA3{d}B2||  % edreI  hiode, traI  aento;
e{AfA}e3a2    B4f2|  {g}e4a2    eG3{d}B2 |  % edreI  hiove, cheI  deemto;
e{AfA}e3a2    B4e2|{Adc}d4a2    dG3{d}B2 |  % edreI  hiode, traI  aemto,
e{AfA}e3a2    B4e2|{Adc}d4a2    dA3{d}B2||  % edreI  hiode, traI  aento;
e{AfA}e3a2    B4f2|  {g}e4a2    eG3{d}B2 |  % edreI  hiove, cheI  deemto,
e{AfA}e3a2    B4e2|{Adc}d4a2    dA3{d}B2|]  % edreI  hiode, traI  aento.
P:Variation 2
{g}e4f2    {g}B4f2|  {g}e4f2 {g}eA3{d}B2 |  % cheve  hiove, cheve cheento,
{g}e4f2    {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % cheve  hiove, cheve cheemto,
{g}e4f2    {g}B4e2|{Adc}d4e2 {g}dA3{d}B2||  % cheve  hiode, trae  haento;
{g}e4f2    {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % cheve  hiove, cheve cheemto,
{g}e4f2    {g}B4e2|{Adc}d4e2 {g}dG3{d}B2 |  % cheve  hiode, trae  haemto,
{g}e4f2    {g}B4e2|{Adc}d4e2 {g}dA3{d}B2||  % cheve  hiode, trae  haento;
{g}e4f2    {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % cheve  hiove, cheve cheemto,
{g}e4f2    {g}B4e2|{Adc}d4e2 {g}dA3{d}B2|]  % cheve  hiode, trae  haento.
P:Doubling of Var 2
{g}e4d2    {g}e4B2|  {g}e4f2 {g}eA3{d}B2 |  % chea   cheo,  cheve cheento,
{g}e4d2    {g}e4B2|  {g}e4f2 {g}eG3{d}B2 |  % chea   cheo,  cheve cheemto,
{g}e4d2    {g}e4B2|{Adc}d4e2 {g}dA3{d}B2||  % chea   cheo,  trae  haento;
{g}e4d2    {g}e4B2|  {g}e4f2 {g}dG3{d}B2 |  % chea   cheo,  cheve cheemto,
{g}e4d2    {g}e4B2|{Adc}d4e2 {g}dG3{d}B2 |  % chea   cheo,  trae  haemto,
{g}e4d2    {g}e4B2|{Adc}d4e2 {g}dA3{d}B2||  % chea   cheo,  trae  haento;
{g}e4d2    {g}e4B2|  {g}e4f2 {g}eG3{d}B2 |  % chea   cheo,  cheve cheemto,
{g}e4d2    {g}e4B2|{Adc}d4e2 {g}dA3{d}B2|]  % chea   cheo,  trae  haento.
P:Ground
e{AfA}e3f2 {g}B4f2|  {g}e4f2 {g}eA3{d}B2 |  % edreve hiove, cheve cheento,
e{AfA}e3f2 {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % edreve hiove, cheve cheemto,
e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2||  % edreve hiode, trae  haento;
e{AfA}e3f2 {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % edreve hiove, cheve cheemto,
e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dG3{d}B2 |  % edreve hiode, trae  haemto,
e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2||  % edreve hiode, trae  haento;
e{AfA}e3f2 {g}B4f2|  {g}e4f2 {g}eG3{d}B2 |  % edreve hiove, cheve cheemto,
e{AfA}e3f2 {g}B4e2|{Adc}d4e2 {g}dA3{d}B2|]  % edreve hiode, trae  haento.

An outlaw ballad from the Hungarian "Csango" minority in Romanian
Moldavia.  The centre on C (with G as a dominant) is set up in the
first three lines, then the last line ends on the third:

X: 260
T:Elment a madarka
S:Csango Hungarian singers from Fundu Racaciuni, Romania
N:not the usual tune found elsewhere for this song
Z:Jack Campin
M:3/2
L:1/4
Q:1/2=80
K:CMix
C2 DE FG|DC2- C2z |
G2 AG BA|G2 G2 z2 |
c2 BA BA|GA E D2z |
A2 GF GF|E2 E2 z2||

A tune from ancient Greece, inscribed on a stone pillar in what is now
western Turkey about 100AD:

X: 261
T:Scholion of Seikilos
M:6/8
L:1/8
Q:3/8=44
K:AMix
Ae2 e3   |(cde)  d3  |c2d e(dc)|cA2 (BG2)  |
Ace d(cd)| cA2  (BG2)|AcB dec  |AA2  A(FE)|]

And here's what may be the oldest known example of a misleading final, in
a dorian/minor/phrygian pentatonic tune from ancient China (the tonal
centre is obviously D):

X: 262
T:Entrance Hymn for the Emperor
C:anon, Chinese, possibly 1000 BC
S:Davidson and Apel, Historical Anthology of Music
M:4/4
L:1/4
Q:1/2=60
K:DDor
D D A C|D2  D C|A c d c|A4    |\
G F D C|A2  D C|A c d c|A4    |
G F D C|A2  D C|A c d c|A2 G F|\
D2  C A|C D C A|G4    |]

This Slovenian tune shows clearly how a misleading final can develop.
The last line has been cut off short (a common feature of Slovenian
songs) before it can descend to the B flat as it does in the second
line, leaving a tune which at first sight looks as if it's G phrygian:

X: 263
T:Je bela cesta vglajena
S:Zbrala Dusica Kunaver, Slovenian Customs and Songs
M:3/4
L:1/4
Q:3/4=60
K:BbMix
G|B2 B|(B A) G|F2 B|A2
B|d2 d|(d c) A|G2 c|B2
G|B2 B|(B A) G|F2 B|A2
B|d2 d|(d c) A|G2 |]

=============================================================================
==  (c) Jack Campin         http://www.campin.me.uk/          August 2013  ==
==        11 Third Street, Newtongrange, Midlothian EH22 4PU, Scotland     ==
==                                                                         ==
==              these pages: http://tinyurl.com/scottishmodes              ==
=============================================================================

=============================================================================
=               Scales and Modes in Scottish Traditional Music              =
=                                  Jack Campin                              =
=============================================================================


Multiple Modes in the Same Tune
===============================

Some tunes switch mode partway through.  This tune does it in the way most
familiar in tonal music - a shift from major to minor on the same tonal
centre and back again:

X: 264
T:Michael's Mazurka
C:Michael Ferrie
M:3/4
L:1/8
Q:3/4=40
K:G
D2   | G4    A/B/c|B2 BA GF   |EG  GB AG   |   FG  FE    DF |
       G4    A/B/c|B2 BA GF   |EG  GB A/G/F|   G4          :|
K:GDor
D2   | G3  A Bc   |d2 dc BG   |A^F AF DF   |   G>A B/c/d g2 |
       G2 GA Bc   |d3  c BG   |A^F AF DF   |   G4          :|
K:G
A/B/d|:g6         |d4    cB   |A2  a3  g   |   fd  cd    ef |
       g4    b2   |g4    d/c/B|A2  a3  g   |   fd  cA    FD |
       G2 AB G2   |A2 Bc A2   |B2  cd B2   |   c2  de    c2 |
       d2 g4      |f3  g a/g/f|g3   f ga   |[1 g3   d    Bd:|\
                                            [2 g4          |]

Modal music has a wider range of possibilities.  The oldest notated
version of the song "Tibbie Fowler" is very simple:

X: 265
T:Owin at her
G:song or reel
S:Margaret Sinkler MS, Glasgow 1710
M:4/4
L:1/4
Q:1/2=160
K:DDor
A|GGGA|FFcA|GGGA|F>ED:|
f|dddf|cAfc|ddde|f>edg|
  fdfc|AFcA|GGGA|F>ED|]

Later versions are often like this one.  It has a sixth gap, but the
third varies between natural and sharp, making it a mixture of dorian
and mixolydian.  Varying the pitch of a note in the scale is a trick
that is only possible with the human voice or a chromatic instrument
like the fiddle.

X: 266
T:Tibbie Fowler of the Glen
G:country dance
S:Duke of Perth MS (NLS MS 21715)
M:C|
L:1/8
Q:1/2=96
K:DDor
E|DGGA ^F>GAc|BGGA ^F>EDE|G/G/G GA ^FGAc|dGGA ^F>ED:|
a|fddf  c>dcA|fdde  f>gag|fddf      AFcA|dGGA ^F>ED:|

And in this one (a Shetland tune said to be of Greenlandic Inuit origin)
the G is variable.  I'm not confident that it has a single tonal centre -
E is my best guess.

X: 267
T:Da Greenland Man's Tune
M:6/8
L:1/8
Q:3/8=84
K:EMix
d2B c2A|BcB E3 |F2=G A2G|FD2 D3 |
d2B c2A|BcB E3 |G2A  B2G|A3  A3:|
B2B B2c|d2d d2B|A2A  A2F|D2E F2A|
B2B B2c|d2d d2B|A2F  F2D|E3  E3:|

In some musical idioms, like the more archaic forms of Hungarian folk
music, variable thirds originated as NEUTRAL thirds - the pitch used
to be the same throughout the tune, midway between a major and a minor
third, like the C on a Highland pipe.  There are probably Scottish tunes
that have developed like that, but I haven't identified one.

Mode-shifting is a common feature of Scandinavian music, of which Shetland
music in in some ways an offshoot.  This pair of Shetland tunes (often
played together) both shift mode.  The first one simply fills a gap, with
the first part hexatonic and the later ones heptatonic:

X: 268
T:Da Full Rigged Ship
M:6/8
L:1/8
Q:3/8=72
K:ADor
e|e2a aea|aea aba|e2f g2g|gag  f2
d|e2a aea|aea aba|g2e edB|A3   E2:|
z|efe edB|A2B c3 |B2G B2G|Bcd  E3 |
  efe edB|A2B c2d|efe dBG|A3   A2:|
G|EGE EGE|EGE c3 |EGE E2D|E2F  GEC|
  EGE EGE|EGE c2d|efe dBG|A3   A2:|

The second tune fills a gap at the third (but making it major), and then
lowers that third from major to minor in the last part:

X: 269
T:Da New Rigged Ship
M:C|
L:1/8
Q:1/2=112
K:ADor
eg|a2ab ageg|a2ab agef|g2gg fgag|f2d2 d2:|
K:A Mixolydian
ed|cAcA B2ed|cAcA E2ed|cAcA B2ed|c2A2 A2:|
K:A Dorian
AB|cdec BcdB|ABAF GFE2|cdec BcdB|c2A2 A2:|

These inflections may be used in Shetland versions of tunes from elsewhere.
In Playford's 1651 collection there is a tune, probably Scottish, called
"Stingo", which is straightforwardly in the minor mode:

X: 270
T:Stingo
G:dance song
M:6/8
L:1/8
Q:3/8=108
K:GMin
G2G d2B   |cA2 F2F |G2G  d2B|G3 B3:|
B2B B2A/B/|c2c c2c |d2d  g2g|d3 f3 |
B2B B2A/B/|c2c c>de|dc>B cA2|G3 B3|]

Thirty years later it had turned into "Lulle me beyond thee" in the
dorian/minor hexatonic scale with sharpened leading notes:

X: 271
T:Lulle me beyond thee
G:song or dance
M:6/8
L:1/8
Q:3/8=96
K:DMin
A2A  f>ef|g>fg a3 |A2A f>ed|^c3 d3:|
f2f  g>fg|a>ba g2c|f2f g>fg| a3 g3 |
a>ba g>fe|f>ed a3 |A2A f>ed|^c3 d3|]

John Hamilton gave it new words early in the 19th century, with a dorian
first half and the second half in the minor with sharpened leading note:

X: 272
T:Up in the Morning Early
G:song
S:Gall and Inglis, Select Songs of Scotland
M:6/4
L:1/4
Q:3/4=92
K:GDor
D|G2A  B2c|d>ef F2F   |G>AG d2c/A/|G3 d2D|
  G2A  B2c|d>ef F2F   |G>AG d2c/A/|G3 d2||
K:GMin
B|B>cB B2B|c>dc c2z   |d>ed f2e   |d3 f2B|
  B>cB B<BB|cdf g2f/e/|d>cB A>G^F |G3 d2|]

and it turned up in Shetland a few centuries later, adapted under Norse
influence into a far more subtle tune that goes through dorian, mixolydian
and major:

X: 273
T:Sister Jean
G:slow air
S:Catriona Macdonald
M:6/8
L:1/8
Q:3/8=80
R:andante
K:DDor
D2E F2G|ABA G2F|E2C C2G|E3 D2C|D2E F2G|ABA A2G|A2d d2c|d3 D3:|
K:DMix
A2B c2d|efe e2c|A2B c2G|E3 C3 |A2B c2d|efe e2d|\
K:D
                                               f2d d2c|d3 A3 |
K:DMix
A2B c2d|efe e2c|A2B c2G|E3 C2B|A2A F2D|A2A F2D|A2d d2c|d3 D3|]


The other way to shift mode in a tune is by filling in or opening gaps.

X: 274
T:The Kilt is My Delight
G:reel
S:Logan's Collection
M:C|
L:1/8
Q:1/2=108
K:D
% major/mixolydian/dorian pentatonic, D-final CG-gap
e|A>AA>B A>Bd>f|e>de>f d>BB<e|A>AA>B A>Bd>f|ede>f  d2d:|
% major/mixolydian hexatonic, D-final C-gap
e|g2 a>g f2 a>f|e>de>f d>BB<e|g2 a>g f2 a>f|ede>f  d2de|
  g2 a>g f2 a>f|e>de>f d>BB<e|A>AA>B A>Bd>f|e>de>f d2d|]

This alternates in each section between mixolydian/dorian/minor
pentatonic and dorian/minor hexatonic:

X: 275
T:The Wee Man from Skye
C:P.M. Donald McLeod
G:march
M:2/4
L:1/16
Q:1/4=84
K:AMix
B<d|e2ed deed  |Beed   B2A2 |GGGB G2B2  |GBBd   B2d2|
    e2ed deed  |Beed   B2A<G|AAAB e2d<B |A4     A2 :|
B<d|e2g2 a2ef  |gfed   B2A2 |GGGB G2B2  |GBBd   B2d2|
[1  efge a2a2  |gfed   B2A<G|AAAB e2d>B |A4     A2 :|
[2  e2ed deed  |Beed   B2A<G|AAAB e2d>B |A4     A2 ||
B<d|e2A2 A2Bd  |e<ge>d B2AB |dGG2 B<AB<G|B<dG>d B2d2|
    eAA2 B<AB<d|egde   B2A<G|AAAB e2d>B |A4     A2 :|
B<d|e2ed e2ef  |gfeg   B2A2 |GGGB G2B2  |GBBd   B2d2|
[1  e2ed e2ef  |gfed   B2A<G|AAAB e2d>B |A4     A2 :|
[2  eAA2 B<AB<d|egde   B2A<G|AAAB e2d>B |A4     A2 |]

The pipe march "The Conundrum" is more complex, progressively filling in
gaps from one section to the next.  The first part omits both G and D,
fitting the mixolydian/major/lydian pentatonic scale.  The second part fills
in one gap, inconspicuously adding a few Gs to make the tune major/lydian
hexatonic.  The third part makes them slightly more noticeable.  The last
part adds Ds as well; the tune only becomes unambiguously in the major mode
near the end.

X: 276
T:The Conundrum
C:Peter Macleod
G:march
M:2/4
L:1/16
Q:1/4=84
K:AMix
   A>B|c2A>c  e>fc2 |A>ce>a f2e>f |a2e>f e>fc2|A>ce>c B2
   A>B|c2A>c  e>fc2 |A>ce>a f2e>f |a2e>f e>fc2|B2A2   A2:|
   f>g|a2e>f  a>ea2 |e>fa>e f2e>f |a2e>f e>fc2|A>ce>c B2
[1 f>g|a2e>f  a>ea2 |e>fa>e f2e>f |a2e>f e>fc2|B2A2   A2:|
[2 A>B|c2A>c  e>fc2 |A>ce>a f2e>f |a2e>f e>fc2|B2A2   A2||
   e2 |A>Bc2  A>Bc<A|c<eA>B c2e2  |f>ga2 e>fc2|A>ce>c B2
   e2 |A>Bc2  A>Bc<A|c<eA>B c2e2  |f>ga2 e>fc2|B2A2   A2:|
   a2 |f>ea>e f2e<a |f2e<a  f>ea>e|f>ga2 e>fc2|A>ce>c B2
[1 a2 |f>ea>e f2e<a |f2e<a  f>ea>e|f>ga2 e>fc2|B2A2   A2:|
[2 A>B|c2d>c  e>Ac2 |d>ce>A f2e>f |a2e>f e<ac2|B2A2   A2|]

This tune is hexatonic in the first and third parts, and with the seventh
in an inconspicuous descending figure in the second part.  But in the fourth
part, the tune is unambiguously mixolydian heptatonic - the G natural only
occurs once, but on a primary beat.  (Thanks to George Current for pointing
this example out).

X: 277
T:King George V's Army
C:G.S. MacLennan
G:march
M:2/4
L:1/16
Q:1/4=80
K:Hp
ed|c2A2 A3B |cAce fedc|d2B2 B3c |defa f2ed|
   c2A2 A3B |cAce fedc|d2fd c2ec|B4   A2 :|
cd|e2a2 a2gf|e2c2 c2ec|d2B2 B2cd|c2A2 A2cd|
   e2a2 a2gf|e2c2 c2ec|d2fd c2ec|B4   A2 :|
ed|c2e2 a3e |ceae faec|d2f2 a3f |dfad fafd|
   c2e2 a3e |ceae faec|dfad ceac|B4   A2 :|
ed|c2e2 e3d |ceea fedc|d2f2 f3e |dffa gfed|
   c2e2 e3d |ceea fedc|dfad ceac|B4   A2 :|

Each part of this complex tune is hexatonic until the unobtrusive B in
the final bar puts it into the major:

X: 278
T:The Braes of Auchtertyre
S:Middleton's Collection, 4th Edition
M:C
L:1/8
Q:1/4=108
K:C
E|C2 C>F E<GG>A|c>de>d       c>AG<c|A/A/A A>G A2 a2 |g<c   {g}f>e {e}d2c2 |
  C2 C>F E<GG>A|c>de>d       c>AGc |A>cG>c    F>cE>c|d/c/B/A/ c<E {E}D2C ||
f|e>fg>a g>ec>g|a/g/f/e/ d>f e>dcG |A/A/A a>g a2 c'2|e<c   {g}f>e {e}d2c>f|
  e>fg>a g>ec>g|a/g/f/e/ d>f e>dcG |A>cG>c    F>cE>c|d/c/B/A/ c<E {E}D2C |]

Probably the bext-known gap-filling tune is this, where the flattened
seventh in the last part often requires players of diatonic instruments
to cheat:

X: 279
T:The Athole Highlanders
M:6/8
L:1/8
K:AMix
% major/mixolydian hexatonic, G-gap hexatonic pitch set
  e3   e>cA|e>cA B>cd|e3   e>cA|B>cd    c>BA|
  e3   e>cA|e>cA B>cd|e<ae f>ed|c>dB    A3 :|
  A>ce A>ce|B>df B>df|A>ce A>ce|B>cd    c>BA|
  A>ce A>ce|B>df B>df|e<ae f>ed|c>dB [1 A3 :|\
                                     [2 A2 ||
e|a2e  e>dc|a2e  e>dc|a2e  e>dc|B>cd    c>BA|
  a2e  e>dc|a2e  e>dc|e<ae f>ed|c>dB    A2 :|
% mixolydian
B|c<Ac c<Ac|d<Bd d<Bd|c<Ac c<Ac|B<GB    B<GB|
  c<Ac c<Ac|d<Bd d<Bd|e<ae f>ed|c>dB [1 A2 :|\
                                     [2 A3 |]

This procedure, of only filling in a gap at the very end of the tune to
create a climax, is common in all kinds of Scottish music.  The idea goes
back a very long way.  This tune from mediaeval Germany is hexatonic in
its first half, and fills in the gap to become dorian in its second part:

X: 280
T:Palestine Song
T:Nu alrest lebe ich mir werde
C:Walther von der Vogelweide, 1204
N:a bloodthirsty recruiting song for the Fourth Crusade, which
N:turned into a looting expedition like the war on Iraq - Walther
N:went on the crusade and it seems he later regretted writing it.
M:C
L:1/8
Q:1/4=80
K:DDor
A|D2 D2 F2 F2      |D2      D/E/F/E/     D2 DC |
  E2 G2 A2 A/G/F   |E2    (3D/C/D/   E/F/E HD2:|
A|A2 c2 c2 AG      |A2      cB           A3  z |
  A2 cB A2 A/G/F/E/|F2      G/F/E/D/     C3  z |
  D2 A2 A2 GF      |EF/E/ (3D/C/D/   E/F/E HD2|]

This is a mediaeval piece in the style of a French religious song, and
perhaps composed by a Frenchman; it's one of the oldest pieces of music
known from Scotland.  It's in the dorian mode, but the first three sections
are dorian/minor hexatonic, with progressively more dorian E's introduced
as the piece builds to a climax.

X: 281
T:Margaret-Eric Epithalamium
G:song
S:Codex Upsaliensis C233
S:Proc Soc Antiq Scot LXXIII (1939) plate LXXXV
N:Composed for the marriage of Princess Margaret
N:of Scotland and King Eric of Norway, 31/8/1281
N:I have rebarred it - the PSAS version was notated in 4/4.
N:Warning!  ABC has a strange concept of 6- and 5-plets; BarFly
N:implements this in a way that displays them twice as long as
N:they are meant to be played.  As notated here, playback is
N:correct and display is wrong.
N:H means a fermata.  If your ABC implementation doesn't have that
N:feature just edit the H's out.
M:3/4
L:1/8
Q:1/4=108
K:GDor
GF|     G2         A2    cd |c2 BA G2|A2 B2  A2 |G2 (3FGF
GF|     G2         A2    cd |c2 BA G2|A2 B2  AG |F2  HG2:|
d2|     c2         d2   (cB)|A2 G2 A2|c2 A2  B2 |G2 (3FGF
A2|     c2         d2    c2 |B2 A2 F2|GA B2  AG |F2  HG2:|
F2|     G2         A2    B2 |A2 G2 G2|A2 B2  c2 |B2   A2
A2|     c2         d2    cB |A2 G2 F2|GA B2  AG |F2  HG2:|
c2|     c2         de    f2 |e2 d2 c2|d2 e2 (fe)|d2 (3cBA
A2|     c2         c2    d2 |d2 G2 F2|GA B2  AG |F2  HG2:|
g2|     e2         f2   (gf)|e2 d2 e2|f2 e2  d2 |d2   c2
c2|     d2         e2    f2 |e2 d2 e2|c2 d2 (cB)|A2  HG2:|
c2|     c2         de    f2 |ed c2 e2|f2 d2  e2 |dc   d2
c2|     c2         de    f2 |ed c2 e2|f2 d2  e2 |dc  Hd2:|
c2|     e2       (3def   ed |e2 c2 d2|dc d2  e2 |c2   A2
c2|     e2       (3def   ed |e2 c2 d2|c2 d2 (cB)|A2  HG2:|
d2|(6:2:defedc     c2    c2 |cB AG A2|c2 d2  GF |G2 (3ABA
A2|     c2    (5:2:defed c2 |cB AG F2|GA B2  AG |F2  HG2:|
d2|     d2    (5:2:defed c2 |cB AG A2|c2 d2  GF |G2 (3ABA
A2|     c2    (5:2:defed c2 |cB AG F2|GA B2  AG |F2  HG2:|
GF|     G2         A2    cd |c2 BA G2|A2 B2  A2 |G2 (3FGF
GF|     G2         A2    cd |c2 BA G2|A2 B2  AG |F2  HG2:|

The same idea is used in this imitation folk song from 600 years later and
the other end of Europe, which is dorian/minor hexatonic until near the end:

X: 282
T:Legend
C:Tchaikovsky
N:words are a Russian translation of an American antisemitic fakelore ballad
M:2/4
L:1/8
Q:1/4=100
K:FMin
f2 fe|A3 B|c2 c2|F2 zc|f2 e2|A3  B|c2 c2|F4   |
F2 FG|A3 G|F2 E2|F4   |F2 FG|A3  G|F2 E2|F2 zc|
f2 e2|A3 B|c2 c2|F2 zc|f2 e2|A3  B|c2 c2|F4   |
zF FG|A3 G|F2 E2|F4   |F2 FG|A3  G|F2 E2|F4   |
f2 fe|A3 B|c2 c2|F2 zc|f3  e|A3  B|c2 c2|F4   |
F2 FG|A3 G|F2 E2|F4-  |FF FG|A3  G|F2 E2|F4   |
G2 GG|A3 A|B3  B|c3  c|e2 d2|c2 F2|A3  G|F4   |
G2 GG|A3 A|B3  B|c3  c|e2 d2|c2 F2|A2 G2|F4  |]

All the examples so far are of gradual and subtle shifts, moving between
adjacent points in the mode diagram.  Shifts follow the lines marked in
the Big Picture (that is, there are no shifts between gapped scales with
the same number of gaps; the only moves that occur are the opening and
filling of gaps, or changes of one step at a time in seven-note modes).
This is quite unlike the usual procedure in art music, where changes of
mode tend to be dramatic and unmistakable, usually between major and minor.
There are some examples like that in folk music, but they usually feel like
conscious exercises in weirdness.  There is nothing subtle about this:

X: 283
T:The Flowres of the Forrest
S:Skene MS via Dauney
G:lament, arranged for lute
M:4/4
L:1/8
Q:1/4=72
K:D
[d2D2] d2 efab     | afed         B2A2     |\
[d2D2] d2 efab     | afed        [d4A4D4] :|
 AB   =c2 Bc [d2D2]|[A2D2]  fe    d/B/A3   |\
[A2D2] Bd b2  af   |[e3A,3] d/e/ [d4A4D4] |]

That startling shift is from the lydian/major/mixolydian pentatonic mode
direct to the mixolydian; the gap at the fourth (G) is not filled in first,
as a move through the major/mixolydian hexatonic mode would require.  The
tune is from a manuscript of lute music predating the general use of the
fiddle, and from the Borders, where the bagpipe had a long history.  It
may even be as old as the event it is thought to commemorate, the Battle
of Flodden in 1513; perhaps it records an old and local kind of tonality.
The basic melody has a nine-note range from A to b, suggesting a chanter
with either one extra note above a one-octave A dorian scale, or two above
a G mixolydian scale.

This tune, noted down in the Borders around 1800, shifts in a similarly
emphatic way from minor to major, and more subtly back again:

X: 284
T:Young Hynd Horn
G:song
S:C.K. Sharpe/Lady John Scott, MS.843
M:4/4
L:1/8
Q:1/4=100
K:GMin
GA |B2BA G2GA|B2c2  d2||\
dd |e2dd c2cc|d2^f2 g2||
g^f|g2GG G2GA|B2cB  A2||\
GF |B2BB c2c2|dcBA  G2|]

This tune (originally for the harp, but best known in a slightly
modified version for the whistle) is dorian/minor/phrygian pentatonic
till near the end, where a grinding unexpected F natural momentarily
throws it into the phrygian mode:

X: 285
T:Da mihi Manum
G:harp tune
C:Rory Dall (Scotland, 17th century)
N:not the Irish harper of the same name 100 years
N:previously, despite what you read in some books
S:Dan Wright, Aria di Camera c.1726
N:arrangement for the transverse flute
M:6/4
L:1/4
Q:1/4=120
K:EMin
D|EGG    G2E   |EGG     G2E   |EGG     GAB   |Bed          B2A/G/|
  AAe    BBd   |A>BA/G/ E2D   |EGG     g2D   |EGG          g2D   |
  EGG    gab   |d>ba/b/ g2D   |EGG     GAB   |Bed          B2A   |
  AAe    BBd   |ABd     e2d/B/|dde     g2e/d/|eeg          a2g/e/|
  ggd/e/ ggd/e/|gga     b3    |bbb     b2a/g/|a/g/a/b/a/b/ a2g   |
  eeg/e/ dde/d/|BBd/B/  A2G   |GGB/d/ =f2e/d/|eeg          e2d/B/|\
  ddg    BBd   |A>BA/G/ E2D  |]

Breathnach points out that this high F natural is common in Irish
music, where it's generally reached by a slide from below.  Whistle
players often play that tune with one of those Irish-style slides;
obviously Rory Dall's harp can't have done that, and applying the
trick to this tune must be a folk-revival idea of very recent times.

Here is the same sort of gap-filling in a tune from Bolivia.  The
first two sections are lydian/major/mixolydian pentatonic, then the
last one goes straight into major:

X: 286
T:Guadalquivir
Z:Fernando Formigo
Z:Jack Campin, http://www.campin.me.uk/
S:a PDF book "Andean Melodies" off the web
M:2/4
L:1/16
Q:1/4=60
K:G
GB2d eg2e|d2B2 G4|AB2A AB2A|G2B2 d4 |
GB2d eg2e|d2B2 G4|AB2A AB2A|G2G2 G4||
d2g2 d2g2|B3g  d4|B2d2 B2d2|g3d  B4 |
G2B2 G2B2|d3B  G4|GB2d ed2B|G2G2 G4||
ee2e e3c |ec2e g4|dd2d d3B |dB2d g4 |
cc2c c3A |cA2c f4|dd2d de2d|[1 dGAB cBcd:|\
                            [2 dd2d dcBA |G2G2 G4|]

A common idea in art music is to shift between major and minor
keys using the same pitch set ("relative" major and minor keys,
like C major and A minor).  This is an example from Scottish
music, mostly in A major but moving into F# minor at the start
of the second part:

X: 287
T:The Laird o' Thrums
C:J. Scott Skinner
M:C
L:1/8
Q:1/4=110
K:A
g|(3 agf   (3 efg   ({g}a2)     (e>d) |  (c<e)    (A>a)     (c>B)     (B>g) |
  (3.a.g.f (3.e.f.g ({g}a2)     (e>c) |  (d>f)    (B>e) ({cd}c>A)     (A>g) |
  (3.a.g.f (3.e.f.g ({g}a2)     (e>d) |  (c<e)    (A>a) ({cd}c>B)     (B>g) |
  (3.a.g.f (3.g.f.e  (3.f.e.^d  (e>c) |  (d<f)    (B>e) ({cd}c<)A      A   ||
c|   f2      (c>f)     (A>f)    (c>f) |(3.c.f.g (3.a.g.f  (3.c'.f.g (3.a.g.f|
({^d}e2)     (B>e)     (G>e)    (B>e) |(3.B.e.f (3.g.f.e  (3.b.e.f  (3.g.f.e|
  {g}a2      (e>a)     (c>e)    (A>g) |(3.a.g.f (3.g.f.e  (3.f.e.d  (3.e.d.c|
  (3.d.e.f (3.B.c.d  (3.c.d.e (3.A.B.c|(3.d.e.f (3.e.f.g ({g}a2-)      a   |]

This pipe tune has one part centred on D and the other three on A:

X: 288
T:Liberton Polka
S:simplified version played in sessions around Edinburgh
M:2/4
L:1/8
Q:1/4=96
K:D
AB/>A/ GA|dA     f2|fe/>f/ ge|dc/>e/ fa |
AB/>A/ GA|dA     f2|fe/>f/ gc|ed     d2:|
K:AMix
ef/>e/ ce|ac     e2|ef/>e/ dB|fe     e2 |
ef/>e/ ce|ac     e2|ef/>e/ dB|BA     A2:|
Ac     ce|ef/>e/ c2|ef/>e/ dB|Ac     c2 |
Ac     ce|ef/>e/ c2|ef/>e/ dB|BA     A2:|
af     fa|ef/>e/ c2|ef/>e/ dB|Ac     c2 |
af     fa|ef/>e/ c2|ef/>e/ dB|BA     A2:|

Shifting tonal centre also works with other modes and with gapped pitch
sets, like this pentatonic song from the North-East of Scotland:

X: 289
T:Rhynie
S:101 Scottish Songs
M:C
L:1/8
Q:1/4=140
K:C
c2|e3d c2G2|A2c2 A2G2|e3 d c2G2|Ac3  d3
 c|e3d c2c2|c2c2 A2G2|c3 G G2G2|E2G2 A4||
   G3C C2C2|E2D2 EA3 |G2C2 C2C2|E2G2 c2|]

The Skye Boat Song is a confusing example.  The tune is pentatonic, but
the tonal centre of the chorus is not the final note: it's really centred
on G, and some singers end it that way.  But the middle section goes into
the relative minor with no ambiguity at all.  Its origins are uncertain,
and there seems to be no verifiable Scottish source for it before it was
published in England in 1884, but it is at least Scottish by adoption.

X: 290
T:Skye Boat Song
G:rowing song or lullaby
S:Loesberg, Traditional Folksongs and Ballads of Scotland
M:6/8
L:1/8
Q:3/8=54
K:G
D>ED G2 G/G/|A>BA d3 |
B>AB E2 E   |D3-  D3 |
D>ED G2 G   |A>BA d3 |
B>AB E2 E   |D3-  D3-|D3 z3||
K:EMin
B>GB B3|AEA A3|GEG  G2G|E3 -E3 |
B>GB B3|AEA A3|G>EG G2G|E3- E3||
K:G
D>ED G2 G/G/|A>BA d3 |
B>AB E2 E   |D3-  D3 |
D>ED G2 G   |A>BA d3 |
B>AB E2 E   |D3-  D3-|D3 z3||

=============================================================================
==  (c) Jack Campin           http://www.campin.me.uk/        August 2013  ==
==        11 Third Street, Newtongrange, Midlothian EH22 4PU, Scotland     ==
==                                                                         ==
==              these pages: http://tinyurl.com/scottishmodes              ==
=============================================================================