There is a distinct body of music for the instrument – many of these tunes survived in the fiddle and Northumbrian smallpipes repertoire after the playing of Border pipes died out in the mid-19th century. Others survive in manuscript sources from the 18th and 19th century.
Sources
Most notably, the William Dixon manuscript, dated 1733, from Stamfordham in Northumberland, was identified as Border pipe music by Matt Seattle in 1995, and published by him with extensive notes.[7]
The book contains forty tunes, almost all with extensive variation sets. Some of these are limited to a single octave, and many of this group correspond closely to tunes for Northumbrian smallpipes known from early 19th-century sources – "Apprentice Lads of Alnwick" is one of these; others are melodically and harmonically richer – using the full nine-note compass and the G major subtonic chord – a fine example of this group is Dorrington. Another very early, though limited, source is George Skene's manuscript fiddle book of 1715, from Aberdeenshire. Besides settings for fiddle, some playable on the pipes, it contains four pieces explicitly stated to be in bagpipe style, all variation sets on Lowland tunes.
Another limited early 18th-century source, is Thomas Marsden's 1705 collection of Lancashire Hornpipes, for fiddle;[8] one clear example of a pipe tune here is "Mr Preston's Hornpipe", with a characteristic nine-note compass. Significantly, this tune is in the Dorian mode on A, with C natural throughout, rather than the Mixolydian mode of the Dixon tunes.
Several Border pipe tunes, including "The English Black and the Grey", "Bold Wilkinson" and "Galloping over the Cowhill", were copied in the 19th century by John Stokoe from the mid-18th century John Smith MS, from Northumberland, dated 1753. This manuscript was, from 1881, the property of Lewis Proudlock, who showed it to Stokoe, but it has since been lost. Some tunes in James Oswald's Caledonian Pocket Companion, also from the mid-18th century, ostensibly for flute or violin, are identifiable as Border pipe tunes. Another important source is the Vickers fiddle manuscript from Northumberland – many tunes in this have the characteristic nine-note compass of pipe tunes.
A later Scottish source, from the early 19th century, is Robert Riddell's Collection of Scotch, Galwegian and Border Tunes – besides some tunes for fiddle and some for smallpipes, others, such as "Torphichen's Rant", clearly have the range and the idiom of Border pipe tunes. The smallpipe manuscript of Robert Bewick of Gateshead, besides many smallpipe tunes and transcribed fiddle tunes, contains several nine-note tunes, now identified as Border pipe music. Some of the smallpipe tunes in Peacock's book, from the early 19th century, are in the Lydian mode, with a tonic of c, but with one sharp in the key signature; these – "Bobby Shaftoe" is one – make more musical sense in the major mode with an f natural, viewed as adaptations from originals for Border pipes. The Peacock, John Smith and some of the Bewick tunes are reproduced in the FARNE archive.[9]
Stylistic features
These tunes display several features distinguishing them from music for fiddle, Northumbrian pipes and Highland pipes. The nine-note modal scale, usually mixolydian, with a compass from the subtonic up to the high tonic, separates them clearly from most fiddle and smallpipe tunes. In particular, the interval of an augmented fourth, difficult on the fiddle, is much more common in these tunes. The compass of fiddle tunes is generally wider, while the older smallpipe tunes have an eight-note range from the tonic up to an octave higher. One complication is the long tradition in Scotland of writing tunes to be played on the fiddle, but 'in bagpipe style', often with the strings retuned to imitate drones; 18th century examples of these can fit well on Border pipes, and may well have been intended as imitations of this instrument.
Further, an important difference between the music of the Border pipes and of the Great Highland bagpipe is that many melodic figures in older Border pipe music typically move stepwise or in thirds rather than by wide intervals, and lack the multiple repeated notes found in many Highland pipe tunes. This suggests that in contrast to the Highland pipes, Border pipe music neither needed, nor greatly used, the complex graces which are so characteristic of Highland pipe music. The four specifically named pipe tunes from Skene's manuscript contain complex written-out gracings, and many more repeated notes than the Dixon tunes, so it is reasonable to conclude that playing styles in the 18th century varied from place to place. Modern attempts to reconstruct a musically valid playing style for Border music such as the Dixon tunes have been very successful, and several respected pipers play in such styles.[10]
These are characterised by simple gracings, used sparingly, mostly either for rhythmic emphasis or to separate repeated notes.