CHANGES
The notation does contain a number of alterations which may, in whole or in part, be
construed as Bunting editing the material. I interpret some of these as possibly
representing genuine performance alternatives given to Bunting by the harper.
The piece as played would have four phrases of four bars but only the first phrase, second
phrase and most of the third phrase are noted in the manuscript.
First phrase
In bar two, the position of the first bass E and C# notes is reversed to C# and E. This
reversal makes for a more flowing bass melody but perhaps a less flowing melody overall,
with the side-effect of producing a monotonous decorated melody note E for the whole bar.
In bar three, the treble quaver F# and semiquaver F# & G# is altered to a crotchet F#
followed by quaver F# and semiquaver F# & G#, which is basically the same melody as first
notated but with the last pitch decorated with a semiquaver F#.
Also in bar three, the bass octave F# notes (pitches which relate to the pitch of the melody)
seem to be replaced by lower octave B notes (which are a fifth from the melody). This
takes away the magadising sound. It is possible that originally both the F# and B octaves
were played since the B octave is notated under the second beat of the treble.
The arrangement may have been played on the harp in either the key of C or G. In MS 33
book II f47r, Bunting registers it as having been in téad leagaidh tuning which would mean
the key of C. If Bunting's low B octave bass notes in bar three of the MS 29 notation are
genuine notations, Higgins would have needed a range of ee-GGG or eee-Γ to play the
piece in the key of C. A key of G would produce a treble and bass range of bbb-DD which
fits within the gamut of Hampsey's Downhill harp, but if the octave B is removed from the
arrangement, the piece would fit neatly onto the Downhill gamut with a range of ee-CC.
Banks of Claudy
Changes