How to Make a March March
More than one Scot has said, "If ye cannae swing your shoulders tae it, it's nae a march." Scotland has probably more distinct types of march than any other single tradition (if Scots can be regarded as monolithic). Time-signatures include 4/4, 2/4, 2/2, 3/4, 6/8, 9/8, 5/4, 6/4 and probably a few even more esoteric ones such as 18/8 (yes, I've written one!) Whilst it would be ideal to look at a tune from each of these, time does not permit. This workshop will focus on retreat marches in 3/4 and 9/8 time, a 2/4 pipe march, and, if time permits, a Scott Skinner 2/4 march.
The essential characteristics that make a march compelling to move to will be explored. These include emphasis, weight of notes, rhythmical elements, flow, accompaniment ideas and more. These features are common to all forms of Scottish march to varying extents. For instance, the techniques for a 9/8 march transfer to a 6/8 march (or other compound time).
The chosen tunes are suitable for most melody and accompaniment instruments (including being in range for flutes and whistles). Teaching will be on fiddle, but techniques are transferable.
Tunes:
A Prayer for Jamie (D, 3/4),
Tigh-na-Gorm (A Mixolydian, 9/8),
Skye Gathering (D, 2/4),
Lord Huntly's Cave (D, 2/4, to be used if time permits).
About Peter Macfarlane
Peter has been performing Scottish traditional music for approaching four decades. Primarily a dance musician, he discovered the music through Scottish dancing, and this informs and infuses his playing.
He cut his teeth in the hot seat as an itinerant fiddler with most of the Scottish dance bands in southern England, learning from master accordionists. Later, as his own fiddle & piano duo, he performed in much of England and Wales, as well as the European continent.
Through the 1990s Peter organised and led the Aylesbury Fiddle Rally, an annual gathering of over 60 musicians to perform a concert of Scottish traditional music for an audience ten times that number. During this time he was invited to teach various fiddle workshops, notably for the UK’s Hands-on-Music series as well as at Pinewoods Scottish week in 1994, his first foray across the Atlantic. Since immigrating to Vermont in 2003, Peter has been teaching fiddle privately, along with giving workshops, such as at the Flurry Festival, NEFFA, Pinewoods, and several more.
Whilst he now plays more for contra dancing (with Atlantic Crossing & Frost and Fire), Peter still plays for a few Scottish dances in the northeast each year, and occasionally beyond, as well as for celebrations with Scottish flavour. He also co-founded and leads the Champlain Valley Scottish Fiddle Club, an informal group which gathers monthly to play Scottish traditional music. And since January 2020, he has served as music director for the Vermont Fiddle Orchestra.
When not playing and teaching music, Peter can be found either in his workshop building cedar-strip canoes or paddling them on remote waters. He has published three volumes of his own compositions, entitled North Country, and also recorded a CD (2003) of original Scottish-style tunes with pianist
Lilian Linden. More recently (2017) he made a solo recording of several self-penned waltzes. And most recently (September 2025) he has published a book, The Wolf Faces Backwards, a travel journal of his solo canoe journeys along the Northern Forest Canoe Trail, one of which—in the unconventional direction—is as yet a unique feat. Books, CDs and canoes can all be obtained directly from him.
Everyone please arrive in time for a prompt 1 p.m. start.
Following a break for stretching, refreshments, and visiting, we resume with our regular tune circle.
We always try to have extra copies of the music for newcomers, however ear-players are welcome as well.
Questions? NHScottishMusic@gmail.com