The Blue Bells of Scotland

I am wondering whether «Blue Bells« rather than «Bluebells« has set the composer off on the wrong foot, or whether it's a really clever play on words. The jury is out, except to say that one of the variations definitely has a chiming clock in harmonics as part of the accompaniment.

This little quartet, 149 bars long, is charming. The opening theme, in A major, has the pretty much de rigeur bagpipe effect with a drone bass and bare fifths preceded by little grace notes. The theme enters over a very easy and very effective 9th chord of A giving a spacious and airy feel, and the tune is shadowed variously a sixth or a third below. The first variation is rather special - a darting scale passage cleverly lights up the tune as it darts upwards, and then drops down to provide movement and filler - all under the fingers in the second position. The second variation moves to G major and sees harmonic clock chimes and G6 chords over the tune, which is now in the bass. The tune is nicely doubled up by the tenor part in the deepest part of melody.

A change of key to C major, and of rhythm to 6/8, bring to life a jig-like variation, and give Guitar 3 the limelight. A second 6/8 variation in G, more melodic, gives Guitar 2 the tune and sends Guitar 1 up into VII position.

Before the reprise, Guitar 3 sets off in a snare-drum accompaniment that delivers a «pipe and tabor« feel, and there is a military precision to this variation, which has brought us back to A major. And then, a laid-back adagio takes us back to the theme and to a restful conclusion.
The writing is very much under the fingers and the rhythms are varied yet straightforward. Set in SATB style, the bass part is slow and easy, and the upper parts just a little more challenging.

A mixed ability group between Grade 2 and 4 would be capable of a very competent and solid performance.«

Derek Hasted (Classical Guitar Magazine)