I went to Glasgow to hear Helene Witcher talking about her book at the Aye Write literary festival. The book is a biography of Helene’s aunt, the Scottish harpist Heloise Russell-Fergusson.
I have been discussing stringing possibilities of a harp made by a French harp maker, supposedly as a copy of one of the old Gaelic harps. Analysing its string lengths I noted that its scaling was suspiciously slow.
(Scaling is the technical word used to describe the ratio of string lengths across the range of a harp or other stringed instrument; a slow scaling means the strings increase in length more gradually as you move from treble to bass.)
Then I remembered that I had come across this slow, even scaling before, on harps modelled after the “Bardic harp” of Gildas Jaffrennou.
I remember Ben Bagby taking a text describing African mbira players, and using it to get an inspiring description of what medieval harp music might be like. (‘Imagining the early medieval harp’, in A Performer’s guide to medieval music, ed. Ross Duffin, Indiana University Press, 2000, p.340-3)
So today I done the same with this text from Tomás Ó Canainn, Traditional music in Ireland, Routlege and Kegan Paul, London, 1978, p.87-90
The square brackets are where I have removed all the pipe-specific words and terms. In our minds we can insert harp references, so that we can try to read this as a guide to how to play Irish harp. Continue reading “Traditional Music in Ireland”
I had an idea that the Historically Informed Performance (HIP) and Early Music movement is kind of like breeding endangered species in captivity, or even using genetic engineering to recreate extinct species of animals. In this sense, listening to a historically informed performance using scholarly reconstruction of historical repertory, style and playing techniques on replica instruments, is a bit like going to a zoo, to see the exotic animals on display.
The third tune on Edward Bunting’s Examples of Irish Melody wanting the fourt and seventh, is Féileacán. Today I made two video demonstrations and also two transcriptions with fingering of this important tune.
In my book Progressive Lessons, I included a full size full colour facsimile of Edward Bunting’s loose sheet titled “Examples of Irish Melody”. These settings of the three beginners’ tunes are interestingly different from the ones we have from Denis O’Hampsey and Patrick Quin, and I have been using them more and more in my teaching.
It is very interesting to work through these settings with complete beginners in my classes, as well as discussing the implications with my established students. It really feels like a proper system for playing the Irish harp in the old Gaelic tradition is starting to emerge.
“But Cambridge forty-eight, for many years, was the greatest peal that was rang or invented” (Tintinnalogia p.2)
In Duckworth’s Tintinnalogia, published in 1668, he gives the full text of “three old peals on five bells, which (though rejected in these days yet) in former times were much in use” (p.15-17). I am interested in these three as rare testimony of the state of change ringing in its true infancy in the early to mid 17th century.
The open on the bass string of the Violin is one of the Sisters on the harp. The next string below on the harp and it, were tuned in unison, for which reason they were called the sisters. These two unison notes are sometimes called, and in ancient times were called, Ne Cawlee – or the companions. Afterwards they were called the Sisters.
The harp is tuned to the Sister note
(John Bell’s Notebook, cited in Henry George Farmer, ‘Some Notes on the Irish Harp’ Music & Letters vol. XXIV, April 1943)
But did Byrne actually use na comhluige on his own harp?