Annotation:House of Glamis (The): Difference between revisions

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HOUSE OF GLAMIS/GLAMS, THE. AKA and see "Castell Rhôs-y-llan," "Roslyn Castle/Roslin Castle," "Widowed Bride (The)." Scottish, Air (4/4 time). E Minor. Standard tuning (fiddle). AB. The tune is attributed to James Oswald and was first published in 1746 in his Caledonian Pocket Companion under the "Roslin Castle" title. Purser (1992) states that it was a popular tune in the 18th century among pastoral pipers (the Scottish pastoral pipes is a type of soft-toned bagpipe ancestral to the Irish uilleann pipes), but uses it as an example of the confusion that sometimes occurred in that century between the 'traditional' and the classical (Oswald was a classically trained musician).

Source for notated version:

Printed sources: Gatherer (Gatherer's Musical Museum), 1987; p. 29. Purser (Scotland's Music), 1992; Ex. 1, p. 174. Graham (Songs of Scotland, vol. 1), 1848; pp. 16–17 (as "Roslin Castle").

Recorded sources:

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-'''HOUSE OF GLAMIS/GLAMS, THE'''. AKA and see "[[Roslyn Castle]]/[[Roslin Castle]]," "[[Widowed Bride (The)]]." Scottish, Air (4/4 time). E Minor. Standard tuning (fiddle). AB. The tune is attributed to James Oswald and was first published in 1746 in his '''Caledonian Pocket Companion''' under the "Roslin Castle" title. Purser (1992) states that it was a popular tune in the 18th century among pastoral pipers (the Scottish pastoral pipes is a type of soft-toned bagpipe ancestral to the Irish uilleann pipes), but uses it as an example of the confusion that sometimes occurred in that century between the 'traditional' and the classical (Oswald was a classically trained musician).
+'''HOUSE OF GLAMIS/GLAMS, THE'''. AKA and see "[[Castell Rhôs-y-llan]]," "[[Roslyn Castle]]/[[Roslin Castle]]," "[[Widowed Bride (The)]]." Scottish, Air (4/4 time). E Minor. Standard tuning (fiddle). AB. The tune is attributed to James Oswald and was first published in 1746 in his '''Caledonian Pocket Companion''' under the "Roslin Castle" title. Purser (1992) states that it was a popular tune in the 18th century among pastoral pipers (the Scottish pastoral pipes is a type of soft-toned bagpipe ancestral to the Irish uilleann pipes), but uses it as an example of the confusion that sometimes occurred in that century between the 'traditional' and the classical (Oswald was a classically trained musician).
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