Nigg timing

[Matt Seattle]

A simple question: I have before me two settings of Farewell to Nigg, SG2 and Seumas 2. I know that they both put the barlines in the wrong place, that they use different time signatures and that they don't agree on the spelling of the composer's name.

But what I am asking about is the timing of the group of notes C#-B-lowA in bar 3 of SG2 strains and bar 6 of SMcN strains. The difference is subtle; does anyoe know how the composer timed these notes? (SG2 has dotted quaver - semiquaver - crotchet, SMcN the snappier group of crotchet - semiquaver - quaver.)

Cheers
Matt

[Jim Roberts]

The composer is Duncan Johnstone, and the tune is written in 6/4, though it is often printed in 3/4.

I believe the note grouping you're referencing should be dotted C and cut B.

Jim

[Matt Seattle]

Thank you Jim but you didn't _quite_ answer my _actual_ question. I have also just noticed an error in the SG setting, strain 3 bar 4 (as written) note 1 is throw on D but should be doubling on C# to match the structure of the other strains, as it does in SMcN2. I know there's a book of DJ's tunes out, I hoped someone who had it to hand might be able to answer.

I do think you're very likely right though, and what you say would agree with the SG setting, but given that SG is so often erratic I thought I'd better check.

Cheers

[Steve Brittain]

Matt,
If the version in "Duncan Johnstone: his complete compositions" is a reflection of how he intended it to be played, it is in 3/4 time and the notes that you are asking about are dotted eighth, sixteenth and quarter.

Your comment that the d throw in the third part of SG is an error is also borne out in the Duncan Johnstone collection.

take care,

Steve

[Matt Seattle]

Great, thanks very much Steve!

[Jim Roberts]

I stand corrected on the time signature. This actually came up in a post from Jay Close last year:

"Having learned "Farewell to Nigg" from Duncan himself off a manuscript in his own hand, I can state with authority that it was composed in 3/4 time. He was perplexed by the setting the Scots Guards II book where it appears as a 6/4 -- but to my mind the 6/4 presentation does make the phrasing more obvious. This of course just points up an issue that Duncan would have made: the music isn't really on the page. It's in your head, heart, hands and ear."

Original thread: http://www.bobdunsire.com/CGI-BIN/ultimatebb.cgi?ubb=get_topic;f=17;t=000273

Jim

[pmjwright]

Matt, just a caution to look over EVERY SG2 tune carefully, there are numerous typos and timing errors throughout the book. My favourite goof is The Festival March (9/8) where the second bar is written in 3/4 time. Check it out!

[Matt Seattle]

Thanks pjw, I HAD noticed, see my second post here ("given that SG is so often erratic") but on this one matter SG turned out to be right. It's worryng though, you pretty well have to know a tune anyway to be able to use a SG2 setting. Actually, I think SG2 is a conspiracy, like piobaireachd. It would be simple enough to write it a lot closer to what is played, but it keeps the mystique going and provides employment opportunities for instructors. At least in SG2 the editors had heard of hornpipes rather than the horn pipes of SG1...