The following table shows a progressive parallel between the second part of all four
pieces. Apparent gaps and/or interpolations probably reflect a common feature of
the process of transmission within the tradition.
There are five pieces of music in the table, notated above each other in the tables
and proceeding horizontally. All are notated in the key of G one sharp, the probably
key of the Féachain Gléis.
The first system of music on the table is based on chiefly on the treble and bass
notation of the Féachain Gléis in MS29 pp54 & 55 and is an attempt to align the main
stresses of the melody with the relevant portions of Port Priest. The second system
is a speculative attempt to show the main notes of the Féachain Gléis melody and
their similarity or otherwise with Port Priest.
The third system shows the melody of the version of Port Priest closest both in form
and date to the Féachain Gléis, that of Fuath nam Fìdhleirean from Dow. This is the
only form of the tune which demonstrates no rhythmic uncertainties in notation. I
have excluded Dow's bass as it seems unlikely to pertain to the harmonic style of the
period of the port's composition. The fourth and fifth systems are rhythmically
speculative transcriptions of the treble and bass of Port Robart and Port Priest
respectively from the lute manuscripts. The basses notated in the table are usually
taken to mark metrical stresses.