I'm looking forward to a few workshops with Alasdair Frasier - starting Thursday, the 1st day of Fiddle Hell (thread)! 

Found a little article in 'Strings Magazine' that would easily improve any of the Scottish music threads, but referenced here - I thought might help tie them together! 

Alasdair Fraser on How the Scottish Fiddle Is a ‘Vehicle for Different Types of Dialects’

A few excerpts:

Here, fiddling often mimics other instruments in the region - bagpipes, harps, and singers—and marches, jigs, and slow airs derived from Gallic singing are abundant. 

Or, Fraser offers, “I’m going to play my fiddle in Doric, which would be northeast, Aberdeenshire.”  There, you’ll find a sophisticated focus on the art of strathspeys.  “I could go up to the Shetland Isles where I would admit more Scandinavian influence into my sound,” Fraser adds.  In those remote islands, positioned between mainland Scotland and Norway, you may find open ringing strings and a distinct swinging sound.  “As you head south to big cities like Edinburgh and suchlike, where there’s been more contact with the European continent, more Italian influence coming over in the 18th century, you can allow sound to be more informed by Baroque stylings,” Fraser adds. 

A third component: Knowing how to articulate. “So we’ve got the language, which gives a regional flavor, we’ve got the bowing, which can be influenced by the dances, and we’ve got the ornamentation, which is part of the language,” Fraser says. In Scottish fiddling, there are multiple ways of embellishing with grace notes. With ornamentation, it’s all about developing “fistfuls of informed palette” as Fraser describes. “Every finger is available to add spice and nuance to the melody notes at any time.” The best way to discover ornamentations is to listen. Go see a Scottish fiddler perform, or view tutorials online. “Listen to your favorite bagpipe player, and steal all their grace notes,” Fraser adds. Singers are also helpful sources. 

I definitely prefer the fiddle to the bagpipes - for expression, but pipers seem even more meticulous about timing in their ornaments!  Some ornamentation is usually always seen in piper notation, but like with fiddle music - may not reveal exactly what is expected from a player.  In the Scottish Piper Tunes Played on The Fiddle Thread, I've started looking closer at how bagpipe ornament notation is interpreted.  

IMHO, Matt Willis has done some remarkable tutorials on ornaments... if nothing else, might cause you to take a 2nd look when you see them notated - or reconsider where, and what type, you choose to play.  VERY SMALL ADJUSTMENTS in ornamentation timing can make a difference in 'lift' & 'drive' - even on the fiddle! 

I learned a lot about Strathspeys this past weekend at Fiddle Hell. 

Origin, surrounding culture/language (also in historical context) and dance - all important. 

This was pretty interesting... the pointed rhythm - a Scottish rhythm matrix (?) 

The Origins of the Strathspey (The Strathspey in Scottish Music - Robert Lamb) 

There are quite a few different Strathspey Dances.  One major thing I noticed (besides 32 bars)... abrupt hops/skips mingled in with more reserved walking steps.  Looking & listening to these - I can see how it would be important to add a little extra 'umph' in the music so the dancers feel like doing those hops & skips! 

Scottish Country Dance Dictionary - Strathspeys 

The Royal Scottish Country Dance Society Strathspey Videos - YT Channel  

Fiddle Hell Thread - workshop & concert replays are still available until August!

I'm still working on Wendy MacIsaac's "Angus Blaise Set" - while what I've learned from some of the Fiddle Hell workshops is still fairly fresh in my mind (plus, trying to sneak in bowed-triplet practice everywhere I can).  

Only started dipping my fingers into the 2nd tune today, while getting the 1st better.  Had to take a minute to figure out where each of the SIX tunes (edited) begins & ends, because there's some variations that really had me guessing. 

Still don't think I want to learn more than the 1st three tunes in the set - even that may be too much. 

What I have is: 

1. starts the set - LOVE playing this!  Going to always associate this with the set title, until I know different... so, Angus Blaise!
2. Calum Breugach (edited) starts at 1:24 
3. ? starts at 2:15
4. ? starts at 2:59 
5. ? starts at 3:40 
6. ? starts at 4:33 

When I was taking a break, I watched these quick tips from Paul Anderson.  Even though Cape Breton music is played a little differently, it helped me keep some bowing goals in focus.

"The Cape Breton Fiddler" by Allister MacGillivray - free download from the Internet Archive.

@Ford Glass -

OMG, I just accidentally touched the wrong 'star' rating for your post, when I want to give you a TEN! 

I can't thank you enough!  That makes PERFECT SENSE - thought I was losing my mind (or just not getting enough sleep 🤣) as I was trying to play that 2nd tune last night! 

THANK YOU!  THANK YOU!  THANK YOU! 

So, SIX tunes in that set!  I have read somewhere that THREE are Wendy's... so there should be titles for a few more. 

Please let me know if you find out anything more!