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.
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.
I am wearied ma lane, pu’in breckens early. Tha mi sgith ’s mi leam fhìn, buain na rainich, daonnan. Cùl an tomain, bràigh an tomain, an tomain bhoidhich; h-uile la n’am onar.
I am tired, I am alone, pulling bracken, all the time. The back of the hill, the side of the hill. The pretty hill; every day I am alone.
This is a song we have been working on at my harp class in Dundee.
Today in the harp class in Dundee we had fun trying out harp accompaniment to medieval bardic poetry! Everyone was very game!
We looked at the poem which was the centrepiece of Wednesday’s concert, Ceannaig Duain T-Athar a Aonghas (pay for your father’s poem, Angus). It is addressed to Aonghas Mòr, the father of Aonghas Og the companion of Robert the Bruce and the leader of the Islesmen at the Battle of Bannockburn in June 1314. (The picture here shows Angus Og’s gravestone on Iona – see Ian MacDonnell’s work for more info).
Ní fhuil a nÉirinn ná a nAlbainn
Aonghas mar thusa, a thaobh seang
Aonghais fháid bhraonghlais an Bhroga
láid, a Aonghais, comha ad cheann.
In Ireland or in Scotland, there is not another Aonghas like you! You graceful form! May Aonghus of the dewy grass of Newgrange, send you gifts, Aonghus!
(Aonghus an Bhroga was the chieftain of the Tuatha Dé Danann, son of the Dagda, and lived at Brú na Bóinne i.e. Newgrange)
It’s pretty sycophantic stuff, extended ego-stroking of the rich and powerful Lord of the Isles, effectively the King of the West of Scotland, but it is also subtle and powerful word – magic, and the voice of the harp supporting and helping to project the verbal presentation of the complex nested ideas has a lot of presence and power.
I have completed the revision of my harp tutor book. “Progressive Lessons for Early Gaelic harp“.
The 1st edition was published in 2009 and I was starting to be unhappy with some of the text and instructions, and also with the music notation. When I first wrote the book, I was really unsure about including notation of the tunes. I seriously considered just omitting all the notation, and I did just that when I re-wrote the book in simplified form as “Clarsach lessons for young harpers“.
I feared that people would put the book up on their music stands and start sight-reading from the notation – and I have seen that happening.
So for the 2nd edition I am making a brave experiment – I wrote to Queens University Belfast to request permission to reproduce facsimiles of Bunting’s manuscripts, and so the music notation of the first edition has now been replaced in the 2nd edition with manuscript facsimiles. This has forced me to explain the music more clearly in the text, but the idea is that the text explanation plus the recorded examples on the CD will make everything clear.
So “Progressive Lessons” has become more serious and hardcore – but I feel OK with that because “Young Harpers” is available as a more easy and accessible introduction to the material.
I haven’t announced the 2nd edition yet – I’ll update the web pages for the 1st April update. But any orders placed from now on will get the 2nd edition.
In my Dundee class, we have been working on the Magnificat antiphon, Salve Splendor, from the 14th century Inchcolm Antiphoner, a manuscript of chant from the island of Inchcolm in the Firth of Forth.
Here are some recordings I have put together illustrating different approaches to this lovely little song.
First off, singing it straight off the manuscript page. Click here for the facsimile at Edinburgh University Library
And here are the words:
Salve splendor et pa-
Hail, glorious one and protector
-trone, iubar que iusticie. Orthodoxe doctor bone pastor et vas gratie. O Columba Columbine,
light of justice,correct teacher & good, shepherd and vessel of grace. O Columba, dove-like,
felicis memorie tue fac nos sine fine, coheredes glorie.
happy memories of you, give us without end, co-heir of glory.
And here is the recording:
Next, playing the song version though on the harp:
And finally, jazzing it up with some twiddles and drones:
The latest Wire Branch Newsletter has an article about video lessons, with me as one of the four teachers interviewed. It’s a very interesting article, by Sam Tyler, which has some useful things to say about learning the harp through one-to-one lessons over the Skype videoconferencing system. Sam describes in turn the four tutors she interviewed, with comments and quotes about their very different approaches and working methods.
For more info please visit my Video Lessons page.
For November only: I am offering FREE trial video lessons! Just mention “Wire Branch” in your enquiry to email@example.com
The same issue also has a great article by Karen Loomis about her recent work on the Lamont and Queen Mary harps, illustrated with two 3-D X-ray reconstruction images, one of each harp.