Metrical edition of 1792/3 notations
This edition is based mainly on the notation on p158 of the manuscript with a few alterations from
either p58 or p159. I have removed notes which I felt were in doubt because they may have been
added later.
I am uncertain as to whether a number of Bunting's notes on p158 should be interpreted as
crotchets or as durations shorter than crotchets. On the first three staves of p158, most of the
notes which have no tails I have represented as crotchets or longer. The remaining staves are
more problematic and I have dealt with each group of notes individually.
There are no minims on pp58 &158. Crotchets with circles around the notehead indicate that these
notes appear as minims or longer on p159. These all occur at the end of musical phrases and may
indicate a rallentando (slowing down) in Hampsey's playing.
I have divided Cumha Bharúin Loch Mór into three main sections all ending on the pitch G above
middle C.
This edition is based mainly on the notation on p158 of the manuscript with a few alterations from
either p58 or p159. I have removed notes which I felt were in doubt because they may have been
added later.
I am uncertain as to whether a number of Bunting's notes on p158 should be interpreted as
crotchets or as durations shorter than crotchets. On the first three staves of p158, most of the
notes which have no tails I have represented as crotchets or longer. The remaining staves are
more problematic and I have dealt with each group of notes individually.
There are no minims on pp58 &158. Crotchets with circles around the notehead indicate that these
notes appear as minims or longer on p159. These all occur at the end of musical phrases and may
indicate a rallentando (slowing down) in Hampsey's playing.
I have divided Cumha Bharúin Loch Mór into three main sections all ending on the pitch G above
middle C.
Cumha Bharúin Loch Mór
1792/3 notation