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 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”
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.
Ann Heymann was probably the first person to spot the lyrics “Here lies Lappin” associated with Burns’s March, including them in her book Secrets of the Gaelic Harp (1988). Continue reading Here lies Lappin, harper’s king
I was discussing Burns’s March with one of my students, saying how it was the most important model for old Gaelic harp (Irish harp, clarsach) technique and style. They said that there was a need for written-out versions fully marked up with fingering and damping.