▁t onic ▁up ▁to ▁an ▁oct ave ▁higher . ▁One ▁comp lication ▁is ▁the ▁long ▁tradition ▁in ▁Scotland ▁of ▁writing ▁t unes ▁to ▁be ▁played ▁on ▁the ▁fiddle , ▁but ▁' in ▁bag pipe ▁style ', ▁often ▁with ▁the ▁strings ▁ret un ed ▁to ▁im itate ▁d ron es ; ▁ 1 8 th ▁century ▁examples ▁of ▁these ▁can ▁fit ▁well ▁on ▁Border ▁pip es , ▁and ▁may ▁well ▁have ▁been ▁intended ▁as ▁im itations ▁of ▁this ▁instrument . ▁ ▁Further , ▁an ▁important ▁difference ▁between ▁the ▁music ▁of ▁the ▁Border ▁pip es ▁and ▁of ▁the ▁Great ▁High land ▁bag pipe ▁is ▁that ▁many ▁mel od ic ▁figures ▁in ▁older ▁Border ▁pipe ▁music ▁typically ▁move ▁step wise ▁or ▁in ▁third s ▁rather ▁than ▁by ▁wide ▁intervals , ▁and ▁lack ▁the ▁multiple ▁repeated ▁notes ▁found ▁in ▁many ▁High land ▁pipe ▁t unes . ▁This ▁suggests ▁that ▁in ▁contrast ▁to ▁the ▁High land ▁pip es , ▁Border ▁pipe ▁music ▁neither ▁needed , ▁nor ▁greatly ▁used , ▁the ▁complex ▁gra ces ▁which ▁are ▁so ▁characteristic ▁of ▁High land ▁pipe ▁music . ▁The ▁four ▁specifically ▁named ▁pipe ▁t unes ▁from ▁Sk ene ' s ▁manuscript ▁contain ▁complex ▁written - out ▁g rac ings , ▁and ▁many ▁more ▁repeated ▁notes ▁than ▁the ▁D ixon ▁t unes , ▁so ▁it ▁is ▁reasonable ▁to ▁conclude ▁that ▁ ▁playing ▁styles ▁in ▁the ▁ 1 8 th ▁century ▁varied ▁from ▁place ▁to ▁place . ▁Modern ▁attempts ▁to ▁re construct ▁a ▁mus ically ▁valid ▁playing ▁style ▁for ▁Border ▁music ▁such ▁as ▁the ▁D