Transcription of MS29 p159 (f78r) notation A facsimile can viewed here.
In my copy, Bunting's original ink markings are transcribed in green and blue and his later pencil
markings are transcribed in red. The ink shows the first stage of Bunting's notation. Some of the ink
looks less dilute (it may even be a different ink) and it is strongly associated with later features of
notation such as bar numbers and some barlines, scoring out and alterations. Despite this it is
sometimes impossible to tell what stage of ink notation certain features belong to, so some parts of
this aspect of the transcription are speculative.
The ink markings seem to reveal two sets of barrings, one earlier and one later. The later set show
Bunting dividing the piece into three sections and framing it in triple time. The earlier set shows very
irregular bar lengths but bars 3 & 4 of the first stave and bars 4 to 11, second to third stave may
imply common time.
The pencil markings show a continuation of the framing of the piece in triple time and include added
pitches. The last two bars of pencil show that Bunting was already working on an F major setting of
the music by the time those two bars were added. On the first stave, one of the added pitches is a
very suspect C# note. On the fourth stave, there is a chord progression over the space of two
beats which appears to contain a dominant 7th chord (D7 in rhythm guitar language) resolving onto
the tonic chord G. The page number 159 is also in pencil.
The first three ink notes at the start of the second stave are a puzzling feature of this notation of
Cumha Bharúin Loch Mór. It is quite possible that these are an alternative (either presented by
Hampsey or invented by Bunting) to the three notes of bar 10 of section 1 involving the alteration of
one pitch from E to G. Under this interpretation, the G can be seen to replace E completely here in
the later of Bunting's notations which are in F major.
There may be a similar section of melody in section 3 bar 4. Due to the quality of notation on pp158
& 159, it could be debated which if any of the notes there apart from D belong to the bass. Possibly
all were in the bass as, in MS 33 book II f9r (p17), Bunting ties the bass G over into the next bar.
This may be a feature he remembered from Hampsey's playing and which would fit very nicely with
the following interpretation of treble and bass at this point.
A facsimile of p159 can be viewed here.
In my copy, Bunting's original ink markings are transcribed in green and blue and his later pencil
markings are transcribed in red. The ink shows the first stage of Bunting's notation. Some of the ink
looks less dilute (it may even be a different ink) and it is strongly associated with later features of
notation such as bar numbers and some barlines, scoring out and alterations. Despite this it is
sometimes impossible to tell what stage of ink notation certain features belong to, so some parts of
this aspect of the transcription are speculative.
The ink markings seem to reveal two sets of barrings, one earlier and one later. The later set show
Bunting dividing the piece into three sections and framing it in triple time. The earlier set shows very
irregular bar lengths but bars 3 & 4 of the first stave and bars 4 to 11, second to third stave may
imply common time.
The pencil markings show a continuation of the framing of the piece in triple time and include added
pitches. The last two bars of pencil show that Bunting was already working on an F major setting of
the music by the time those two bars were added. On the first stave, one of the added pitches is a
very suspect C# note. On the fourth stave, there is a chord progression over the space of two
beats which appears to contain a dominant 7th chord (D7 in rhythm guitar language) resolving onto
the tonic chord G. The page number 159 is also in pencil.
The first three ink notes at the start of the second stave are a puzzling feature of this notation of
Cumha Bharúin Loch Mór. It is quite possible that these are an alternative (either presented by
Hampsey or invented by Bunting) to the three notes of bar 10 of section 1 involving the alteration of
one pitch from E to G. Under this interpretation, the G can be seen to replace E completely here in
the later of Bunting's notations which are in F major.
There may be a similar section of melody in section 3 bar 4. Due to the quality of notation on pp158
& 159, it could be debated which if any of the notes there apart from D belong to the bass. Possibly
all were in the bass as, in MS 33 book II f9r (p17), Bunting ties the bass G over into the next bar.
This may be a feature he remembered from Hampsey's playing and which would fit very nicely with
the following interpretation of treble and bass at this point.
A facsimile of p159 can be viewed here.
Cumha Bharúin Loch Mór
p159 transcription