KEY
Both Féachain Gléis and Cumha Bharúin Loch Mór are notated in MS29 in the key
of G. A key of C would place the ranges of the tunes in a much more complementary
relationship which begs consideration that this might have been the original key.
I generally find that more instrumental tunes of the surviving harp repertoire suit teud
leagaidh (all naturals) tuning better than lethghleus (one sharp tuning). This is also
suggestive that Bunting's understanding of G one sharp as being the 'natural key' on
the harp was representative of a later development in the Gaelic harp tradition at
least in Ireland.
Port Priest is of course possibly a lament itself; Cumha Iarla Wigton demonstrates
some close similarities. If the Féachain Gléis is in fact a transmission of the second
half of Port Priest, which is likely, then no clear examples survive of harp pieces
composed with the explicitly original intention of testing tuning.
The comparison of Port Priest and Port Robart with both Fuath nam Fìdhleirean and
Féachain Gléis might indicate that movement onto the lute in the key of F, onto the
fiddle in the key of D, and into the key of G one sharp on the harp, caused changes
to the original melodic range.
Féachain Gléis