'The Bonnie Banks o' Loch Lomond’

'The Bonnie Banks o' Loch Lomond’

'The Bonnie Banks o' Loch Lomond' is the first of three tunes, often performed together, and sharing a common theme. The lyrics that accompany this particular tune present the perspective of a two recently captured Highlanders. We come to learn that the two have arrived at this crossroads together but now must part. "O ye'll tak' the high road, and I'll tak' the low road, And I'll be in Scotland a'fore ye..." As one man is destined to travel the earthly path through the mountains back home. The second man must stay and face what can only be presumed to be his imminent execution. His spirt is destined to travel the low road home, the one not of this world.

It appears they both look to return to the 'bonnie banks o' Lock Lomon' a much beloved natural focal point of Scotland. Loch Lomond's waters lie upon the 'Highland Boundary Fault' line, separating lowland Scotland from the Highlands. In Gaelic, 'Loch Laomainn' means 'lake of elms.' With those great tree's in mind we can imagine the shady glen where they once stood 'on the steep, steep side o' Ben Lomon.' It seems to be the sort of place that attracts lovers in the dusk hours when the moon is full and bright.

A Irish Turn…

One should be careful not to confuse 'Ben Lomond,' Scots Gaelic for 'beacon mountian,' for the equally famous 'Ben Bulben' or Irish Gaelic for peak, featured in a famous poem by W.B. Yeats.'Red is the Rose' recounts two lovers separated, not in death, but in life after the immigration of one to America. At the same moment it is interesting to note that the ballad 'Red is the Rose' is set to the same tune as that of 'The Bonnie Banks o' Loch Lomond. And just as the tune in question crossed the Irish Sea it has also crossed over the Atlantic to America. Which may lead to a good bit confusion. As Piper's we play only the tune, unable as we are to sing along. We invoke the song by giving it a certain title but if no one tells the audience, who's to say they won't have the lyrics of Tommy Makem rolling through their minds. Perhaps in the end no matter the separation; geographical, spiritual, temporal, or even political a celt is still a still a celt.

The Mountain in Question

The Mountain in question in this particular tune is situated on the Eastern shore of Loch Lomond. One of Scotland's most famous peaks, it is visible from Glasgow on a clear day. Its beauty and ease of ascent attracts many hikers and tourists from the south. In centuries past it was Highlanders, like the ones portrayed in the lyrics above, that came instead from the north over these mountains. Some after answering the call to arms of Bonnie Price Charlie in 1745. Or even longer ago to rally to the banners of Robert the Bruce headed to the Battle of Bannockburn in 1314. Since time immortal they came from the north, to answer the call of battle. But why?

Why They Fought

The modern era has granted us a window into the motivations of many men who in our own time have been pressed to the fore. We need only look to the letters and journals that fill a modern documentary or the tweeter posts and instagram videos that stream in from around the world every day to share in the first hand accounts of war in the modern age. In the case these Highlanders, who left behind little in the way of personal accounts, we are left to wonder why they chose to take up the sword. Was it all but for the rightful king? For the desire to fulfill ones duty to his Clan? Or the ever present desire for adventure or personal glory? Why should it concern us? Do we perhaps fear a day when men will no longer be whiling to take up the sword.

THE BONNIE BANKS O' LOCH LOMOND
By yon bonnie banks, and by yon bonnie braes,
Where the sun shines bright on Loch Lomon',
Where me and by true love were ever wont to gae
On the bonnie, bonnie banks o' Loch Lomon'.

O, ye'll tak' the high road, and I'll tak' the low road,
And I'll be in Scotland afore ye;
But me and my true love will never meet again
On the bonnie, bonnie banks o' Lock Lomon'.

'Twas there that we parted in yon shady glen,
On the steep, steep side o' Ben Lomon',
Where in purple hue the Hieland hills we view,
And the moon coming out in the gloamin'
O, yell tak' the high road, etc.

The wee birdies sing, and the wild flowers spring,
And in sunshine the waters are sleepin';
But the broken heart it kens nae second spring again,
Tho' the waefu' may cease frae their greetin'.
O, yell tak' the high road, etc.

~ Ford, R. (1900). Song histories. Glasgow: W. Hodge.

Technical Notes on Tune Execution

The Bonnie Banks of Loch Lomond is in my mind best approached in the style of a slow march. Most 4/4 marches, especially in a band setting, are played at a tempo of 96-104 bpm. In the case of this tune a temp under 90 bpm, as low 84 bpm, is quite effecting.

Special attention should be payed to the D Throws and and grace note strikes. Review the exercises on D Throws in James Mc Gillvray's Rhythmic Fingerwork and pay special attention to the difference between a 'closed' versus a 'open' D Throw. When played correctly the contrast between a well executed 'closed' D throw and the light touch of the grace not strikes well really set this tune off well.