OT: 9 February 1901 – Keith N. MacDonald – “Puirt-a-Beul ‘Mouth Tunes’ or ‘Songs for Dancing'” [Mus]



The Oban Times, 9 February, 1901

Puirt-A-Beul

“Mouth-tunes,” or “Songs for Dancing.”

By Dr. Keith N. MacDonald

“Dannsa na Boineid,” or the bonnet dance, was something like an everlasting jig, or eightsome reel. A bonnet was thrown upon the floor, when a young swain took it up and danced with the lady of his choice, who, in her turn, danced to another favourite partner, and so on until the whole company had a turn on the floor; the words sung being ‘Mo thasdan bhòidheach, mo thasdan gheal.” In modern times “the bonnet dance” has been performed to instrumental music, to the air of “The White Cockade,” and generally for the last dance at a wedding or ball.

The song relating to the foolish soldier warns him that he was seen drinking the previous night. The words are probably more than a century old, and the air older still. These “puirt” were sometimes allegorical, at other times describing facts or peculiarities, and sometimes ironical. The best are often those having a double meaning, or ridiculing someone. When meaningless words were attached it was to accord with the rhythm of the music.

“Thubhairt an Luchag” is one of the old songs. It describes a conversation between a mouse in a hole and a cat outside trying to entice the mouse to come out by pleading love and friendship. The mouse replies that it knows well the crooked hook that used to be in the cat’s paws, and accuses the cat of having killed its mother yesterday, and nearly caught itself.

 

 

 

 

 

 

 

 

 

OT: 2 February 1901 – Keith N. MacDonald – “Puirt-a-Beul ‘Mouth Tunes’ or ‘Songs for Dancing'” [Mus]



The Oban Times, 2 February, 1901

Puirt-A-Beul

“Mouth-tunes,” or “Songs for Dancing.”

By Dr. Keith N. MacDonald

Delvin Side.

One of our very finest strathspeys, and one of the older ones too, is “Delvinside,” the composer of which has never been discovered. It has been claimed for “Delvin” in Perthshire and “Dulnan,” six miles above Grantown-on-Spey, but it is impossible now to say where it first originated. The writer is of opinion that, though it first appeared in piano music, it was originally a pipe tune, and was arranged on the key of D by the Gows* and others. It is very strange that the authors of some of our best strathspey music are unknown, which, in the writer’s opinion, is evidence in favour of their antiquity. This tune is rather difficult to play well. The Gows had too many cuts in it, but as played by the old Highland fiddlers, there is no strathspey to beat it as a dancing tune. Its very rhythm suits the steps admirably. The evidence in favour of its being a pipe tune is most marked in the last two bars of the set in the “Skye Collection” of reels, though, as at present arranged, it goes beyond the scope of the bagpipe. Mr Alexander Troup of Ballater, an excellent authority on the authorship of our national music, informs me that fully 20 years ago the people of “Dulnanside” claimed the tune, and there was an article or paragraph in the “People’s Journal” at the time in reference to it. The river Dulnan is often still called “Delvin,” and in the locality there are words known to the tune as follows:–

Bonnie lass of Delvin side
*And bonnie lass of Delvin water.

The Gows of Perthshire (the composer’s people) are said to have come originally from the classic country of Strathspey.

*ED.  The “Gows” referred to here is the “Repository of the Dance Music of Scotland” (1799).  The entire facsimile is available at the following site.  See p. 15

http://ks.petruccimusiclibrary.org/files/imglnks/usimg/2/27/IMSLP269731-PMLP328064-Gows_Repository_of_the_Dance_Music_of_Scotland_bw.pdf

Many of the “puirt-a-beul” were extremely personal and pungent. Unfortunate people with any peculiarity about them were sure to be made the subject of a “port,” and the language used was not very particular either. “Gille Glas Mhic Eachainn,” Hector’s Pale Son, is an example. He threatens to extinguish the life of his opponent and rival, and predicts the shouting of his enemy when he got well kicked. These were usually composed by irresponsible young men out of fun and devilment, combined with more or less viciousness. The “Gille Glas” is to the air of “Jenny dang the Weaver,” a capital reel. In those “puirt” where there are 8 lines in the first part and 8 in the second, it will be understood that the first measure of the usual 4 bars is sung twice over. The reason the second measure has always got eight bars is because the two last bars often differ in the 1st and 2nd time the second measure is played. The first measure rarely assumes this character.

 

 

 

 

 

 

 

OT: 26 January 1901 – Keith N. MacDonald – “Puirt-a-Beul ‘Mouth Tunes’ or ‘Songs for Dancing'” [Mus]



The Oban Times, 26 January, 1901

Puirt-A-Beul

“Mouth-tunes,” or “Songs for Dancing.”

By Dr. Keith N. MacDonald

‘The Envious Wife’ is also very old and uncommon, and probably never would be heard again. The few people who know this style of music are disappearing fast.

“Ruidhlidh Mo Nighean Donn” is a pretty common pipe tune, and very effective.  There are several versions of it.

 

“Oran na Feannaig”–“The Crow’s Song”–is a very ancient Skye song, in the form of a dialogue, like “Oran na Comhachaig”, or “The Song of the Owl”.  So far as we know, it may be as old as the famous Lochaber song.

This air, “S I Morag, ‘S I Morag a rinn a’ bhanais” was a very popular strathspey in Skye 50 years ago, one of the food old tunes that had died out.  It is never heard at the present day, except rarely as a “port a beul.”

 

 

 

 

 

 

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