foundation.” But Dr. Mac Culloch, strangely enough, himself says a little later:— Footnote 3: The proper name of “classic” pipe music in the Gaelic is _Ceol Mor_, the Great Music, a word which includes gatherings, laments, and salutes. “The proper music of the bagpipe is well worthy of the instrument. They are really fit for each other, and ought never to have been separated. The instrument has suffered in reputation, like the ass in the fable, from making too high flights. It is, properly speaking, a military weapon (_sic_), and the pibroch is its real business.” A pibroch is generally in triple or quadruple time, although many are in two-fourth and six-eighth time. It begins with the _urlar_ or groundwork of the composition and its doubling. Then comes the high A or thumb variation, after which the music proceeds:— (1) _Siubhal_, with its doubling and trebling. (2) _Leum-luath_, Do. Do. Do. (3) _Taor-luath_, Do. Do. Do. (4) _Taor-luath fosgailte_, Do. Do. Do. (5) _Taor-luath breabach_, Do. Do. Do. (6) _Taor-luath a mach_, Do. Do. Do. (7) _Crun-luath_, Do. Do. Do. (8) _Crun-luath fosgailte_, Do. Do. Do. (9) _Crun-luath breabach_, Do. Do. Do. (10) _Crun-luath a mach_, Do. Do. Do. It is finished up with the ground or _urlar_ as at the beginning. The pibroch is not a mere voluntary, played as the taste of the performer may dictate, though it seems so to those unacquainted with the nature of the music, especially when the player is inexperienced. All, however, are not so ignorant or confused as the listener of a story told by the late Duke of Gordon. A piper in a North of England town had played a pibroch which wonderfully excited the attention of his hearers, who seemed equally astonished at its length and the wildness and apparent disconnection of its parts. Unable to understand it, one of the spectators at the conclusion anxiously asked the piper to “play it in English.”