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William Dixon wrote down 40 tunes with variations in a manuscript book around 1733, making this tune almost three hundred years old. There was a very healthy piping tradition at that time on both sides of the Border between Scotland and Northumberland, and throughout the British Isles. Matt Seattle, who discovered the manuscript in Perth and published it in 1995 under the title THE MASTER PIPER, suggests it originated on the south side of the Border. Matt has written about it extensively in the his two editions of the manuscript as well as in the pages of Common Stock, edited by Pete Stewart. Common Stock is the journal of the Lowland and Border Pipers Society. Perhaps the most amazing thing about this tune is that it doesn't appear anywhere else in the Lowland or Border repertoire. How did other pipers not fall in love with this tune and spread it around? Pipers are an excessively competitive, so perhaps Dixon wanted to keep it for himself? Matt believes Dixon played what we call Border pipes today. Pete Stewart suggests these tunes were made for small pipes with an open end, unlike the Northumbrian small pipes, and were played with a closed fingering. I play it here on a Scottish small chanter in C paired with a Northumbrian small pipe drones, both made by the phenomenal Ray Sloan. I use the modern open fingering system and tuned the drones to the tonic and subdominant (nominal aDA). For an amazing Scottish small pipe video check out Murray Huggins' latest post.