I first became aware of Edith Taylor many years ago, from reading Frances Collinson’s book The traditional and national music of Scotland. After describing briefly the wire-strung clarsachs made by Arnold Dolmetsch, he writes:
Miss Edith Taylor, the first Honorary Secretary of Comunn na Clàrsaich, has one of these on which she once played for the writer at a B.B.C. ‘Country Magazine’ programme from Lochaline, Morvern.
Continue reading Edith Taylor of Rahoy
People have talked for a long time about left and right orientation. Sometimes the question is, why did the old harpers play with their left hand in the treble and their right hand in the bass? And sometimes the question is, what should we do now?
Continue reading Left and Right
It is a common trope in the world of historical Gaelic harp studies that the tradition was “broken” in the 19th century, that the revivers of the harp of Ireland and Scotland had no contact with the last of the old tradition-bearers. But yesterday, Sylvia asked me if I was sure that this was true, and so I started to wonder.
Continue reading Continuity of tradition
Looking through the books from the Jimmy Shand Collection in Dundee library for a tune to play on Saturday week at the free community concert in Dundee, I noticed “Carlione a Favourite Irish Tune” in Neil Gow’s third collection (1792). It is Dr John Stafford, or Carolan’s Receipt (no. 161 in Donal O’Sullivan’s index).
Whether or not I’lI get it up and running to play in two weeks time, it got me thinking about tunes titled with strange variants of Carolan’s name.
Continue reading Carlione
I’m working on the 3rd edition of my book Progressive Lessons. I decided to be more focussed and concentrate only on the three beginners’ tunes from the testimony of Patrick Quin and Denis O’Hampsey. Looking again at the manuscript sources, I am seeing a lot of things that I had not paid attention to before, and which are worryingly different from the way I have been playing and teaching these tunes up to now.
Continue reading Hand position
My article ‘Medieval Gaelic harp setup’ is published in the current volume of Early Music Performer. (no. 40, Spring 2017, p.16-25)
Continue reading Medieval Gaelic harp setup
A few different things I have been reading recently have come together in some vague and half-baked ideas on performance issues.
Continue reading Performance
Speaking on 10th July, 1849, the Irish harper Patrick Byrne explained to the antiquarian John Bell, the system for tuning the early Irish harp. After starting at na comhluighe, and using a cycle of 5ths to set the middle octave of the harp, he says
Then you sound the G on the violin & B & D, and the octave above which is G which makes a common chord
Continue reading a common chord
I’ve been playing almost every day now for a week and a half, using the tips of my fingers, with my nails trimmed short. Here are a few preliminary observations.
Continue reading Some observations on playing with finger-tips
Today I was working on tunes collected by Edward Bunting from the 18th century Irish harper, Arthur Ó Néill, for my concert in St Andrews on 3rd August.
As I played through some of his settings of Carolan and other baroque Irish harp music, using a copy of an 18th century Irish harp, I started thinking about the whole issue of playing the harp with long fingernails.
Continue reading “…the fleshy part of the finger alone”