yscolan. flute music

yscolan 2009 musicians' residential retreat

2009-01-04T15:39:00.007Z

yscolan residential music retreat
pentre ifan, preseli, pembrokeshire, west wales.
Summer 2009
{www.yscolan.info}

The next yscolan residential music retreat will be from Tuesday, August 4th to Thursday, August 6th 2009. Musicians are welcome to apply anytime, about half the spaces are taken. {click here for application form}

Tuesday, August 4th to Thursday, August 6th 2009

An opportunity to play, learn and contemplate music for ten adult (18+) musicians of mixed technical ability. All in the splendid isolation of the magical rural setting of the Preseli hills.

Background.

This is the fifth residential retreat to be organised by Ceri which takes as its direct inspiration the annual summer school organised by the English Acoustic collective in Ruskin Mill, led by Chris Wood, on which Ceri was invited to teach in the summer of 2007. The yscolan retreat will be focused on issues that grew out of that experience for him but which may not be the primary concern of the EAC summer school at the moment.

Though independent of each other, and perhaps different in nature, the EAC summer school and the yscolan retreat may be seen as complimentary and participants at one may benefit from attending the other.

A winter retreat will be organized later in the year.

For further details, please write to ceri@yscolan.info or call 01559 384962
{www.yscolan.info}

Morriston Fiddle Maker

2008-06-21T12:25:00.001Z

from the bbc
http://news.bbc.co.uk/1/hi/wales/south_west/7452522.stm

Concert celebrates violin maker

Lewis Roberts's violins are worth over £1,000 each on the open market
The work of a man regarded by some as Wales's greatest violin maker is to be celebrated at a concert at the chapel where he was buried in 1917.
Lewis Roberts of Morriston near Swansea made 87 instruments during his career and six will be played by a variety of musicians at Capel Seion Newydd.
Roberts, who was born in 1868 and made his first violin while in his teens, influenced several contemporaries.
The concert on 21 June is free to the public.
It has been organised by local antiques expert John Carpenter who has also researched the violin maker's life story.
"He was without any doubt the best [violin maker] Wales has ever produced," he said.
"Lewis Roberts was a violin maker who is described as a 'dreamer of dreams', which I have used as the title to my book.
"He worked in the tin industry, was a bachelor as far as we know and died at a young age pneumonia.
"He had have a brother - Willie Roberts - who was very well known locally as a violin player."
Mr Carpenter said he Roberts' mother had tried to discourage her son from violin making but he fashioned his first secretly in the back garden of their house in Morriston partly with a penknife.
He said what marked them out was the "neatness of his work".
Mr Carpenter's interest in Roberts was sparked around 20 years ago when he first acquired one of his violins.
"I have been an antique dealer most of my life and have played the violin since I was five years old.
"I have since bought another three - all of which will be played on the night along with another two."
The concert starts at Capel Seion Newydd at 1900BSTon Saturday 21 June.

preseli

2008-01-09T17:22:00.000Z

Dv dy uarch du dy capan.
du dy pen du dy hunan
i adu ae ti ysgolan.

Mi iscolan yscolheic
ysgawin y puill iscodic.
guae ny baut a gaut guledic.

O losci ecluis. a llat buch iscol.
a llyfyr rod y voti.
vy penhid. ys trum kynhi.

Creaudir y creadurev. perthidev muyhaw.
kyrraw de imi vy gev.
ath vradas te am twyllas ynnev.

Blyutin llaun im rydoded.
ym. bangor ar paul cored.
Edrich de poen imy gan mor pryued.

Bei ys cuypun ar vn. mor amluc guint.
y vlaen bric guit fallum.
ar a vvneuthum e bith nys gunaun.

mountain gavotte
as plain as wind before the branch
words clothe articulate nature

here, life is movement
but slow

preseli trees are traces of time
tracks from a seeds urge
their shape the path of their history

bent by a crow's beak the scholars'
black flute twists the branch
persuaded by light, directed by wind

brilliant, unsymbolic lines
the mark of the action
taut against the reflected ocean sky

beverley evans reading the text here

branwen bendigeidfran gwales. yscolan & adar rhiannon. manawyddan lludd belinos lugobelinos a'r fisher king

2007-12-23T17:55:00.000Z

branes yw'r hen air am heidio'r brain. nid o'r castell ond o'r fan hyn welodd bendigeidvran vab llyr llonge yn dod o werddon

mulfranwen yw'r enw am y deryn yma sy'n lluaws ar ynys gwales yn sir benfro

a branwen oedd whâr bendigeidfran a fuws ar ynys gwales, ne o leia'i ben hyfryd am 80 mlyned.

nes i heilyn vab gwyn agored y drws mynna manawyddan na ddylid ei agored. dyma lun david jones 'manawyddan's glass door'

cyn hyn yr oeddent yn ôl yn harlech am gyfnod lle ganws adar rhiannon iddynt

drudwns oedd adar rhiannon. wedyn aethpwyd â pen bendigeidfran fan hyn i wynebu tua ffrainc. ma bran yn gysylltiedig a'r fisher king, bron fyd achos y lôs gas e yn ei garffed

ma'r cigfrain yno o hyd.

fe gladdws lludd fan hyn, yn ludgate. lludd oedd yn fab i beli mawr ac yn gysylltiedig mynte rhai a lugh lamhada (a thrw hwnnw i lleu llaw gyffes) a lugobelinos, ac yn frawd i bran

a beli mawr fan hyn yn billingsgate. beli mawr oedd priod dôn, mam y mor, ac yr oedd e'i hun yn gysylltiedig a belenos - duw yr haul - apollo dim llai. belinos oedd tad bran

ceir yr hanes ar lein yn sysneg fan hyn . meddwl mâs yn uchel otw i, na gyd

's da'r tiwn a ganlyn ddim byd i wneud a'r uchod onibai am yr ail elfen. ty mawr yn nhgyffunie llandyfri yw glanbran. pam enwyd y nant cyferbyn yn bran, cwestiwn arall yw hwnnw

X: 1
T:glanbran
M:2/4
L:1/8
Q:250
K:G
G/A/|B2 Bd|G>A| BG|c2 B2|AA/B/ cA|
B>A Bd|G>A BG|Ad FA|G3:||
G|F>A G>B|Ac BA|G>B A>c|Bd BG|
B>A Bd|G>A BG|Ad FA|G3:||

dyma'r ty

ma bran i fran yn rhwle

welsh ballads. lord bateman, sweet william, siwsan lygatddu & the bishop of bangor

2007-12-14T12:35:00.000Z

congratulation to the university of wales and particularly the welsh schools at university colleges bangor and cardiff for a new resource on line called cronfa baledi. it is a very usable site detailing authors, printers, sellers, catalogue numbers and tune lists of welsh language popular eighteenth century ballads, plus their first and last lines... and there's the rub

it is a pity that a quick comparison wih oxford's bodleian library collection of ballads exposes one final hurdle not crossed in terms of use to the general οἱ πολλοί on the university of wales site. 'what no pictures? said alice'. the bodleian not only gives us detailed photographs of these beautiful (and fragile - so nobody's fingering them) broadside ballads and a separate index for the woodcuts; but the site also has some midi files of the tune used. bingo.

it is of couse possible to retreive the catalogue number and see the mss for yourself at either bangor or cardiff but this is 21st century e-wales and for the artist who just wants to nick the words and tunes its a bit of a pity really. more hurdles to online viewing may be encountered here. another example of possibe frustration is to be seen below. in amongst a seemingly interminable ocean of religious balladry lies, temptingly, the ballad lord bateman. this is a screenshot of all we get

and on further perusal

nothing really to prepare us for the momentous discovery of this ballad, published in welsh speaking salop about a century before dickens and thackeray popularised the story of sofia and the owner of half of northumberland. here's one of the george cruikshank illustrations to dickens' words. the whole lot can be got here at the project gutenburg website

as it happens i copied the whole lot out by hand from the ms in bangor about a year ago. here's a free gift of it

C E R D D
o
hanes mab i wr BONHEDDIG
o
LANCASHIRE
AETH I DRAFEILIO

CYMERWYD hwn i garchar, o achos ei grefydd, yngwlad y Twrcs, a merch y brenin a’i ffan∫iodd ef, gan ddwyn yr agoriade, a’i ollwng ef yn rhydd gan wneuthur ammod a’u gilydd o doent i dro∫odd i Loegr ym hen y ∫aith mlynedd, gan bwyntio prïodas y cyfam∫er, ond y mab a brïododd un arall; ac ar y diwrnod y neithior daeth merch y brenin at ei haddewid, a bu ∫yndod mawr ar y mab, fe wrthododd ei wraig brïodol, ac a brïododd ferch brenin y Twrc.

gan EDWARD PUGH AP FYLLIN, Fardd
CROESOSWALLT
Argraphwyd gan J. SALTER
M, DCC, XCI,
Y MESUR A ELWIR
"NEW PRINCESS ROYAL"

I.
Gwyr a gwragedd dowch ynghyd,
hyna jeüenga’ brafia o bryd:
Clywch hanes mab bonheddig llon,
Aeth i deithio o’r wlad hon,
Ffordd i wledydd oedd digred
Gadawai ei wlad, i fynd ar led.
II.
I wlad y ffez Morocco’r aeth,
Bu arno yno gyflwr caeth;
Wrth rodio’r wlad nid rhad na rhwydd,
Cymerai’r Twrciaid e’n eu ∫wydd,
Rhodda∫ant ef mewn carchar cry’
Mynegaf ichwi fel y bu:
III.
Wylo’r dagre i lawr yn llyn
Yn y carchar ∫omgar ∫yn,
Dymunai dod’n ei wlad yn ol
Lle bod ymhlith rhai mor ddirol,

Lawr
Lawr i’r ∫eler ddu cadd fynd
Lle nid oedd posib gweled ffrind.
IV.
Y mab bonddigedd llariedd llon,
Hwn oedd heb gudd yn brudd i fron,
Mab oedd heb braw’ yn lan o bryd,
Carcharwr oedd ef yno o hyd,
O’r carcharorion daeth refiw
Fo oedd hawddgara’ lana’ ei liw
V.
Fe aeth un yno’n llon i’r llu
Sef merch y brenin atto fu,
Can wel’d mor lân o bryd a gwedd
Ffan∫iodd hon y mab mewn hedd,
Yn ei chalon yn ddi gudd
Ag ei∫iau cael y mab yn rhydd.
VI.
Yn y dyngiwn yn gla’ roddd dan glo,
Y ferch ofynnau iddo fo
Oedd ganddo fodd i’w brynnu’n rhydd.
A’r dagre’n rhedeg lawr ei grudd.
Dywedai ynte wrth y fun
Fod ganddo stât’n ei wlad ei hun

Bodlon
VII.
Bodlon wyf i roi f^y ∫tât
Os caf I fynd i dir fy ngwlad,
Nag aur, nag arian, bwyd, na bir:
Na dim arall yn wir nad oes,
Ofni rwyf mae b^yr yw f’oes.
VIII.
Y ferch rinweddol yno ddai,
A bara a diod iddo hi a roi;
A mentro a ddarfu hon yn hy’,
Agoriade a cloëau y carchar cry’,
A hi a ollyngai y mab yn rhydd,
A’i gyrchu heb braw o’r carchar prudd
IX.
Yno d’wedai’r ladi braf,
Yn brïod cym’raf chwi os caf.
Chwi eiff yn glen i dir eich gwlad
Na anghofiwch momo fi drwy wad;
Ym mhen ∫aith mlynedd gwedded gwiw
Byddaf finne ichwi’n driw
X.
Gwneuthur ammod a wnaeth y ddau
A’r ladi glws yn ledio’n glau

Pan
Pan ddoe’r ∫aith mlynedd maith i ben,
Y gwnaent brïodi i’w dau heb ∫en;
Dywedai’r ferch oedd lon ei gwedd,
Am gofio’r amod hynod hedd.
XI.
Hyn o amser oedd mor hir,
Fo anghofiai ei ∫eren ∫ir.
Pan ddaeth ∫aith mlynedd i’w coffhau,
Prïodi un arall yn wir fe wnai
Cadw neithior iddo ‘fe,
A phawb yn llawen iawn ei lle
XII.
Rhyw ferch jeüanc yno ddaeth,
Cnoccio wrth y drws hi wnaeth
Y gwas agorai iddi hi,
Fe welai’n ffraeth ryw ladi ffri
Hi ofynnai iddo’n hy’
Oedd ei fei∫tr yn y ty.
XIII.
Dywedai’r gwas yn ∫iwr ei fod,
A briod gydag ef trwy glod
Yn cadw neithior yno’n iawn,
Er y bore, a thrwy prydnhawn;
Gyda’r miwsig y mae fo
Yn prysur dawn∫io treio tro
Dywedwch
XIV.
Dywedwch wrth eich mei∫tr clir,
Am ddanfon imi fara a’i fir
A pheidio anghofio’r ferch a fu
‘N ei dwyn ef o’r carchar cry’
A fentrodd ei bywyd yn ddigon hy,
‘N ei gael yn rhydd o’r dyngiwn du.
XV.
At ei fei∫tr y gwas fo aeth,
A gore’n ffri mewn geiriau ffraeth,
Mewn agwedd hy’ mynegai hyn,
Dechreuai ei fei∫tr mynd yn ∫yn,
Ac wrth ei brïod dywedai’n hy’
Y cai hi fyned ffordd y bu.
XVI.
Am ei chorph nid oedd e’ waeth,
Roedd e’n ffri a’r feinir ffraeth,
Ar farch y dowch chwi yma’n ffol,
Yn eich coach and ∫ix cewch fynd yn ol,
Bai yn wir oedd arnaf fi,
Am dorri geiriau ‘rioed a thi
XVII.
I ffordd yr aeth y brïod ferch,
Ar ol prïodi a ∫oddi o’i ∫serch,
Dim

Dim count am dani mwy nid oes,
Am y ferch heini yn ei hoes,
A’r hen gariad priodi a wnai
A byw yn glen efo’r feinir glau
XVIII.
Wel dyna’r ∫tori heini hardd
O’ch blaen chwi rhwydd fel cadd y bardd;
Yn rhodd na fernwch anai’n faith,
Ewch gynta o’m gwydd i fendio’r gwaith.
Dim help os nad oes fy mhen fydd wan,
You may do better if you can.

T E R E Y N

new princess royal is the tune suggested to sing the ballad. not the princess royal of playford but a tune that was attributed to o'carolan by ed. bunting called there miss macdermott, and later re-appreared in various forms as the princess royal in the cotswold and other morris traditions. here's a full list of the tunes used by the ballad singers as appears on the cronfa baledi website

Acen Colomen

Amorillis

Anodd Ymadael

Anodd Ymadael y ffordd fer

Belisle March

Beti Brown

Black Eyed Susan

Black-Eyed Susan

Bodlonrwydd

Bonny Jockey

Bore Dydd Llun

Breuddwyd

Breuddwyd Cariad

Breuddwyd Dafydd Rhys

Breuddwyd y Frenhines

Bryniau'r Iwerddon

Bryniau'r Iwerddon y ffordd hwy

Buckledo

Bwrw Ymaith Ofalon

Calon Dderwen

Calon Drom

Cariad Nebyn

Cast Away Care

Charity Mistress

Charming Chloe

Cil y Fwyalch

Clochydd Meddw Mwyn

Codiad yr Ehedydd

Conset Capten Morgan

Conset Catrin Penllyn

Conset Clychau Rhuabon

Conset Gruffudd ap Cynan

Conset Gwyr Aberffraw

Conset Gwyr Dyfi

Conset Gwyr Gwent

Conset Gwyr y Gogledd

Conset Lord Wilbury

Conset y Brenin William

Conset y Brenin William ffordd newydd

Conset y Prince Rupert

Cowper Mwyn

Crimson Velvet

Crying Windsor

Cwymp i'r Nant

Cwymp y Dail

Cwymp y Dail y ffordd hwy

Cwynfan Prydain

Cyfarfod Da

Cysgod Uchod i Chwi

Dau Drawiad

Difyrrwch Gwyr y Gogledd

Difyrrwch Hugh Evans

Difyrrwch y Brenin Charles

Diniweidrwydd

Dol y Moch

Down With the Roundheads

Duw Gadwo'r Brenin

Duw Gadwo'r Brenin yr hen ffordd

Duwc y Dero

Eluseni Mistress

Eos Lais

Erlid y Geinach

Fell Into Two

Ffansi'r Milwr

Ffarwel Brydain

Ffarwel Dai Llwyd

Ffarwel Dickby

Ffarwel Gwyr Aberffraw

Ffarwel Gwyr Dyfi

Ffarwel Ned Puw

Ffarwel Trefaldwyn

Ffarwel y Brenin

Ffelene

French March

Full of Fancy

Gadael Tir

Gadael Tir y ffordd hir

Gadael Tir y ffordd hwy

Galar Don

Gentry's Delight

Glan Meddwdod Mwyn

God Save the King

Greece and Troy

Grisial Ground

Gwagedd y Gwalch

Gwel Adeilad

Gwel yr Adeilad

Gwinllan Ddyrus

Gwledd Angharad

Haf

Hau Cyn Dydd

Heart of Oak

Heavy Heart

Hen Don

Heppi's March

Hir Oes i Fair

Hitting Tinker

Hold the Way

Hope to Have

Hun Gwenllian

Hunting the Hare

Hyd y Frwynen

Hyd y Frwynen Las

I am a Poor Black 'Tis True

In My Own Mind

Janthee the Lovely

Jolly Breeze

King Charles's Delight

King George's Delight

King James' Delight

King's Delight

King's Farewell

King's Farewell y ffordd fer

King's Round

Lady Biram

Lawr a'r Pengrynion

Leave Land

Leave Land y ffordd fer

Leave Land y ffordd hwy

Let Mary Live Long

Llafar Haf

Llafar Lusg

Llef Caer Wynt

Loath to Depart

Loath to Depart y ffordd fer

Loath to Depart y ffordd hir

Loath to Depart y ffordd hwy

London Apprentice

Lucy Hoyw

Lusi Hon

Lwsi Hoyw

Mael Sims

Malldod Dolgellau

March Mwnc

Marwnad Bwnc

Marwnad yr Heliwr

Megan a Gollodd i Gardes

Mentra Gwen

Mentra Gwen yr hen ffordd

Miller's Key

Minswyn

Moggy Ladder

Monday Morning

Mwyn Susanna

Mwynen Gwynedd

Mwynen Mai

Mwynen Merch

Neithiwr ac Echnos

Neu Me Relas

New Cast Away Care

New Dachy War

New March

New Princess Royal

New Rising Sun

Newydd

Newydd

Now Comes the Glorious Year

Nutmeg a Sinir

Nutmeg a Sinsir

Old Darby

Parson's Parish

Passing Bell

Peggy Band

Pietty Pal

Pigau'r Dur

Pleasant Thought

Pretty Nancy

Pretty Sally

Princess Royal

Queen of May

Queen's Dream

Red House

Rhywbeth Arall i'r Wneuthur

Rhywbeth Arall i'w Wneuthur

Rodney

Rodney's March

Rogero

Sailor Bold

Sawdwl y Fuwch

See the Building

Sesiwn Fach

Shoe Bend

Spanish Basan

Spanish Gwenddydd

Spanish Minuet

Susan Lygad-Ddu

Susanna

Sweet Passion

Sweet Richard

Sweet William

Sybylldir

Synselia

Tempest of War

Terfyn y Dyn Byw

The Lover

To My Own Mind

Toll the Bell

Ton Fechan

Torriad y Dydd

Torriad y Wawr

Tri Thrawiad

Triban

Trip y Rhyw

Troead y Droell

Tros y Garreg

Trumpet Tune Denbigh Chast

Trychineb Bateman

Trymder

Trymder y Mab

Tyb y Tywysog Rupert

Unrhyw

Voice Love

Watkin Taylor

Welcome John

Wilkes's Wriggle

William Crismond

Wyneb y Gwrthwyneb

Y Ceiliog Du

Y Consymsiwn

Y Ddime Goch

Y Drymer Ifanc

Y Dydd Cyntaf o Awst

Y Famaeth

Y Fedle Fawr

Y Foes

Y Foes Fer

Ymadawaid y Brenin

Ymadawiad y Brenin

Ymadawiad y Brnein

Ymadawiad y Plant Man

Ymdaith Treffynnon

Yr Hen Foes

sweet william and black eyed susan (siwsan lygad ddu) both appear separately on this list and an interesting background to their story when they were one, can be found on andrew kuntz' wonderful (except for his fear of the word 'welsh'. not a word i use often, but it is useful when describing john parry who according to kuntz composed the 'english' tune cader idris, or sweey jenny jones) resource here

SWEET WILLIAM'S FAREWELL (TO BLACK-EYE'D SUSAN). AKA and see "All in the Downs," "Thus when the swallow, seeking prey," "Black& Eyed Susan [2]." English, Air (3/4 time). C Dorian. Standard tuning. AB. The music to this ballad is by Richard Leveridge while the words are by John Gay, based on the popular story of the courtship of William Whitcraft and Susan Cole, of Plymouth, commonly known as "Sweet William" and "Black-Eyed Susan." A version of this ballad was frequently reprinted in the late 18th-century as “William and Susan's Garland.” The lyric was first published by Gay in 1720, but was set to music by Leveridge and appeared in Watts' Musical Miscellany (1730), then ballad operas and broadsides from 1730 and later. Chappell and Scott note that Leveridge was "a genial and popular personage, possessed of a fine (bass) voice..," who was in the habit of challenging people to singing contests. In general, however (and despite his popular tune "Roast Beef of Old England"), he was thought a rather dull and mediocre composer; Chappel thinks the original tune for "Sweet William" was improved by time and the alterations of other performers. Gay also used the tune in his opera The Beggar's Opera (1729) under the title "Thus when the swallow, seeking prey." When Vauxhall Gardens was re-opened to the public in 1736, Peter Monamy was one of the artists commissioned to paint scenes of the creations and recreations of English life. One of the subjects he chose to illustrate was Gay’s song “Sweet William’s Farewell to Black-Eyed Susan.” Rod Stradling and Mike Yates (in a 2000 Musical Traditions article on singer Walter Pardon) note that “the song became extremely popular for 100 years or more - so much so that a number of sequels sprang up to trade on the original's popularity. Sweet William's Return to his Dear Susan was followed by Sweet Susan's Constancy and The True Answer to Black-Ey'd Susan … there may have been others (vague rumours of Son of Black-Eyed Susan and Black-Eyed Susan Goes Line-Dancing have been heard …) Even a stage play resulted, Black-Eyed Susan or All in the Downs (1829), involving the imagined melodramatic consequences of Sweet William's return.” Frank McHugh, writing on the London theatre season of 1812-1813, records: “David Mayer notes that the character Black-Eyed Susan appeared in pantomime soon after Jerrold's melodrama of 1829, but that she had appeared much earlier--in fact in the Sans Pareil pantomime of 1812-13, Davy Jones's Locker; or, Black-Eyed Susan. Mayer says, "A summary of the pantomime in the playbill of the 1813 Davy Jones suggests how extensively the character of Black Ey'd Susan belonged to the theatre, equally suitable to pantomime arrangers and to such serious dramatists as Jerrold" (Harlequin in His Element, 82-3).” Gay’s lyric begins:
***
All in the Downs the Fleet was moor'd
The streamers waving in the wind,
When Balck-eyed Susan came on board
"O where shall I my true love find?
Tell me, jovial sailoers, tell me true,
If my Sweet William sails among the crew?”
***
The song’s popularity waned greatly after the mid-19th century, although there were occasional survivals to modern times in tradition. Stradling and Yates cite its appearance in Bob Hart’s, of Snape, Suffolk, repertoire in the 1970’s, and Walter Pardon’s sound recording. Chappell (Popular Music of the Olden Time), vol. 2, 1859; pg. 144. Scott, 1926; pg. 4.

X:1
T:Sweet Williams Farewell to Black-Ey’d Susan
M:3/4
L:1/8
S:Chappell – Popular Music of the Olden Time (1859)
Z:AK/Fiddler’s Companion
K:C Dorian
G2c2d2|e2d2c2|=B2c2d2|G4c2|BA G2F2|E4D2|C2D2F2|G6|G2c2d2|e4d2|e4f2|
G6|f6|d2c2B2|c2d2e2|f2d4|e6||g2f2e2|f2e2d2|=B2c2d2|G6|E2F2G2|F>G A2G2|
G2A2=B2|c>d e2d2|e2d2c2|B2c2=B2|c6||

here is the entirity of gay's lyric

All in the dawn the fleet was moor'd,
The streamers waving to the wind,
When Black-eyed Susan came on board,
Oh where shall I my true love find?
Tell me, ye jovial sailors, tell me true,
If my sweet William, if my sweet William
Sails among your crew?

Oh William, who high upon the yard,
Rocked with the billows to and fro,
Soon as her well-known voice he heard,
He sigh'd and cast his eyes below:
The cord slides swiftly thro' his glowing hands
And as quick as lightning, and as quick as lightning
On the deck he stands.

So sweet the lark, high poised in air,
Shuts close his pinions to his breast,
If, chance, his mate's shrill voice he hear,
And drops at once into her nest:
The noblest captain in the British fleet
Might envy William, might envy William's
Lip those kisses sweet.

'Oh Susan, Susan, lovely dear!
My vows shall ever true remain,
Let me kiss off that falling tear,
We only part to meet again:
Change as ye list, ye winds, my heart shall be
The faithful compass, the faithful compass
That still points to thee.

'Oh, believe not what the landsmen say
Who tempt with doubts thy constant mind,
They'll tell thee sailors when away,
In every port a mistress find:
Yes, yes, believe them when they tell thee so,
For thou art present, for thou art present
Wheresoe'er I go.

If to fair India's coast we sail,
Thy eyes are seen in diamonds bright:
Thy breath is Afric's spicy gale,
Thy skin as ivory so white:
Thus every beauteous object that I view
Wakes in my soul, wakes in my soul
Some charm of lovely Sue.'

Though battle call me from thy arms
Let not my pretty Susan mourn:
Though cannon roar, yet safe from harms
William shall to his dear return:
Love turns aside the balls that round me fly
Lest precious tears, lest precious tears
Should drop from Susan's eye.

The boatswain gave the dreadful word,
Her sails their swelling bosom spread:
No longer can she stay on board -
They kissed, she sighed, he hung his head:
Her lessening boat unwilling rows to land,
'Adieu,' she cries, 'Adieu,' she cries
And waved her lily hand.

tune players in the welsh and english traditions will recognize phrases from this tune in its truncated jig form as the earlier bishop of bangors jig, which appears in one of the later playford collections. here it is as i learned it from the whistle playing of jonathan shorland, then of aberystwyth, about twenty years ago. jonathan played it usually in g minor, on an f whistle and followed it with cwrw da, the (nearly) slip jig composed by john parry. geoff hardman of anglesey also plays this setting of jonathan's but on the timber flute and in e minor.

X: 1
T:Bishop of Bangor's Jig
M:6/8
L:1/8
K:Em
B|efg fge|^def B2e|dcB cBA|B3-B2B|
efg fge|^def B2e|dcB cBA|B3-B2|
B|dBG cAF|BGE AFD|GAB AGF|G3G2||
B|ge^c af^d|bge af^d|efg Be^d|e3-e2:||

ah well,
may get drunk, may get boozy
better stay a way from little black eyed susie

traditional welsh flute - ioan rhagfyr

2007-09-14T17:56:00.000Z

last year llio rhydderch gave me a photocopy of a manuscript she had been looking at from the library of the university of wales, bangor (Llsg 2299). it contains nine tunes composed by the self styled ioan rhagfyr, or the more anonymous sounding john williams as he was christened, 'perthynol i'r german flute scale' (appertaining to the german flute scale) and a hornpipe by one thomas davies. here is ioan's entry in y bywgraffiadur cymreig.

WILLIAMS, JOHN (‘Ioan Rhagfyr ’; 1740-1821); g. 26 Rhagfyr 1740, yn Hafoty Bach, plwyf Celynnin, Meirionnydd, mab William Robert Williams, a'i fam yn berthynas i Edward Samuel, Llangar [q.v.]. Symudodd y teulu i fyw i Dalywaen, ger Dolgellau. Gwneuthurwr hetiau brethyn ydoedd y tad, a dysgodd y mab y grefft. Arferai masnachwyr gwlân o Amwythig letya yn Nhalywaen, a thynnwyd eu sylw at ddawn John Williams i ddysgu, a thalasant am dri mis o addysg iddo yn Amwythig. Cafodd wersi mewn cerddoriaeth, a dysgodd ganu'r trwmped a'r ffliwt. Wedi dychwelyd gartref dechreuodd gyfansoddi cerddoniaeth a barddoniaeth. Yn 1763 priododd â Jane, merch William Jones, Bryn Rhyg, Dolgellau. Yn 1772 rhoddodd ei grefft i fyny ac aeth yn glerc at Edward Anwyl, cyfreithiwr, ac wedi hynny bu'n cadw ysgolion yn Nhrawsfynydd, Abermaw, Dolgellau, a Llanelltyd. Efe oedd cerddor enwocaf ei gyfnod, a chyfansoddodd lawer iawn o gerddoriaeth offerynnol, anthemau, a thonau. Bu rhai o'i anthemau yn boblogaidd am amser hir, a cheir ei donau ‘Sabath,’ ‘Cemaes,’ a ‘Dyfroedd Siloah’ yn ein casgliadau tonau. Ceir ei ddarnau offerynnol — yr ymdeithganau, gavottes, a minuets — yn Y Cerddor Cymreig (‘Ieuan Gwyllt’). Yn llyfr Ffoulk Robert Williams (‘Eos Llyfnwy’ [q.v.]) ‘Cerddoriaeth o Gerddi Seion’ mewn llawysgrif sydd yn y Llyfrgell Genedlaethol ceir 59 o donau a 21 o anthemau o waith John Williams. Bu f. 11 Mawrth 1821 a chladdwyd ef ym mynwent Llanfair Bryn Meurig.
Llyfryddiaeth:

Ser. G., Mai 1822;
Y Cerddor, Chwefror 1889;
M. O. Jones, Byw. Cerdd. Cymr.;
Em. W.;
Enw. F.;
Y Gwyddoniadur;
J.T.J., ii, 645-6.
Awdur:

Robert David Griffith, M.A., (1877-1958), Hen Golwyn

Atodiadau a chywiriadau:

WILLIAMS, JOHN (‘Ioan Rhagfyr ’; Bywg., 985) Sylwer mai yn Ser. G., Mai 1822 (nid ‘Ser. Cym.’) y ceir ei hanes.

and in english

WILLIAMS, JOHN (Ioan Rhagfyr ; 1740-1821), musician; b. 26 Dec. 1740 at Hafoty Bach, parish of Celynnin, Mer., the son of William Robert Williams and his wife, who was related to Edward Samuel, Llangar (q.v.). The family moved to Tal-y-waun, near Dolgelley. The son learned his father's craft — that of making cloth hats. Wool merchants from Shrewsbury used to lodge at Tal-y-waun and some of these, after observing that John Williams had a gift for teaching, paid for three months' schooling for him at Shrewsbury; he also received lessons in playing the trumpet and the flute. After returning from Shrewsbury he began to write music and poetry. In 1763 he m. Jane, daughter of William Jones, Bryn Rhyg, Dolgelley. He relinquished the craft of hat-making in 1772 to become a clerk to Edward Anwyl, solicitor, Dolgelley; he afterwards kept schools at Trawsfynydd, Barmouth, Dolgelley, and Llan-elltyd. John Williams was probably the most prominent musician of his time in Wales. Anthems which he wrote remained popular for a long time, his hymn-tunes ‘Sabath,’ ‘Cemaes,’ and ‘Dyfroedd Siloah’ are found in many collections, whilst instrumental pieces by him (marches, gavottes, and minuets) were published in Y Cerddor Cymreig (Ieuan Gwyllt). In Foulk Robert Williams (Eos Llyfnwy, q.v.), ‘Cerddoriaeth o Gerddi Seion’ (in manuscript form in N.L.W.) are preserved fifty-nine hymn-tunes and twenty-one anthems by him. He d. 11 March 1821, and was buried in Dolgelley parish churchyard.

the hand in the ms is fluid and beautiful and similar to the hand of the many fiddlers' tune books that peppered england, wales, scotland and ireland during the period. the notes by llio point out that the ms was owned by his brother robert and that the tunes were collected by a third brother, ythyr. it dates from 1767, making this a particularly early ms of welsh flute music in particular, and flute music in general in the british isles, outside of a military or courtly context. folk music in fact.

it may be slightly predated by the 'aria de camera per flauto solo' published in london in 1735, but the printers, daniel wright snr and jnr, if not exactly crooks were nothing if not unscrupulous and were certainly cashing in on a) fancy modern italian fashions and b) the new vogue for all things 'celtic', in this hotch potch of italianate celtica featuring all the usual suspects; fanny dillon by carrolan, moggy lauther, meillionnen etc. and it has to be said that the contributors' (three flute players playing their new national airs) names are somewhat suspect; mr alex. urquahart of edinburgh, mr derm.t o'connar of limerick and mr hugh edwards of carmarthen, are all in all only slightly more believable than jock mactavish, paddy o' riley, and taffy jones. ioan rhagfyr is the real deal, though. nontheless being compositions, the tunes reflect to no small degree the italian atmosphere also.

they are also nearly contemporary to the tunes collected by flute player edward williams (iolo morganwg) of glamorganshire, but although iolo's tunes are beautiful to play on the instrument, the tunes he collected are not specificaly flute repertoire. it does indicate however quite a fashion for the (presumably) now easy to aquire instrument in wales. iolo's tunes - unlike hugh edwards and ioan rhagfyr however, not only sound far from italianate but reflect iolo's highly developed critical sense of the native esthetic, an esthetic he romantically ascribed to the ordinary folk of south wales, deriding the pompous baroque music of north wales as exemplified by edward (humstrum) jones the harper. iolo could hold a grudge longer and deeper than most and the king's harper had particularly irritated iolo. ioan's tunes would certainly not have incurred the gwentian wrath.

here is an abc transcription i made last year. i have copied the music faithfully as pricked down in the ms and any musical corrections i leave to those who know better. i love the rhythms these transcriptions give to the minuets particularly. correct at your peril.

X:1
T:Gavot by John Williams
C:Ioan Rhagfyr (John Williams)
M:C
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
R:Gavot
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:D
f2a2^g2b2|afge dcBA|f2a2^g2b2|gfge d4:|
d'2b2=c'2a2|bgaf edea|d'2b2c'2a2|fba^ga4|
f2a2^g2b2|afge dcBA|f2a2^g2b2|gfge d4:|

X:2
T:Air by John Williams
C:Ioan Rhagfyr (John Williams)
M:3/4
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgelleu c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by llio Rhydderch.
R:Air
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:D
a4b2|a2gfed|Ag/a/bgda|Gf/g/afeg|Fe/f/gedf|
Gg/e/dcBA|a4b2|a2gfed|Ag/a/bgda|Gf/g/afeg|
Fe/f/geAc|d2AFD2:|
dcdgaf|ecefge|dcdfed|edcBA2|
FaGbAd'|b2c'2d'2|ab c'2>b|a4>"DC"||

X:3
T:Dolgelley Minuet by John Williams
C:Ioan Rhagfyr (John Williams)
M:3/4
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
R:Minuet
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:D
dfa2g2|ceg2f2|dfgf ed|cdec A2|
dfa2g2|ceg2f2|egfedc|d4>:|
fad'2b2|egb2a2|fad'c'ba|g2fge2|
fad'2b2|egb2a2|fba2g2|a4|dfa2g2|
ceg2f2|dfafed|cdec A2|dfa2g2|
ceg2f2|eg fe dc|d4>:|
dfafed|cegedc|dfafed|cdec A2|
dfafed|cegedc|egfedc|d2A2D2:|
fad'c'ba|egbage|fad'c'ba|g2fge2|
fad'c'ba|egbage|fbagf^g|a4|
dfafed|cegedc|dfafed|cdec A2|
dfafed|cegedc|egfedc|d2A2D2:|
(3def (3agf (3fed|(3cde (3gfe (3edc|(3def (3bgf (3fed|(3cde (3edc A2|
(3def (3agf (3fed|(3cde (3gfe (3edc|(3efg (3fed (3edc|d2A2D2:|

X:4
T:Air by John Williams
C:Ioan Rhagfyr (John Williams)
M:C
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
R:Air
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:D
B^ABc dcde|fefg f2>a|b^abc' bfgf|e2d2cedc|
B^ABc dcde|fefg f2>a|bfgf edcB|A2^G2F2>:|
c|cde fefg|f2d'2^a2b2|fbbb eaaa|dggg fedc|
B^ABc dcde|fefg f2>a|gfdc BdcB|F2^A2B2:||

X:5
T:A Hornpipe by Thomas Davies
C:Thomas Davies
M:C
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
R:Hornpipe
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:D
d2AAd2A2|defga2gf|gbag f2ed|edcBA4|
d2AAd2A2|defga2gf|gbag f2ed|A2c2d4:|
gbgg f2dc|gabc' d'2c'b|a^gaba2gf|edef e4|
d2AAd2A2|defga2gf|gbagf2ed|A2c2d4:|

X:6
T:Bugeiliaid oed(d) yn gwylio
C:John Williams
M:C
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
R:Hornpipe
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:A
A4D2E2|A2D2GAB2|A4|
"solo"(FGAF)G2FG|
W:Ha le liw ia
(F2E2)D4|F4G2A2|B2A2G2F2|E4|
"solo"(F>GAD)G2FG|
W:Ha le liw ia
(F2E2)D4|d4c2d2|e2A2d2e2|"ed"d4|
"solo"c>deAd2cd|
W:Ha le liw ia
(d2c2)A4|A4ABcA|d2F2G>AB2|A4|
dcdABcde|
W:Ha le liw ia
(d2c2)(d4|d8)

X:7
T:Nannau Minuet by John Williams
T:Illtyd Minuet
C:Ioan Rhagfyr (John Williams)
M:C
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
R:Minuet
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:D
d4fg/a/|g2f2e2|fdgedc|d2A2G2|
FAdfed|Acegfe|Bdfagf|e2dcBA|
d4fg/a/|g2f2e2|fdgedc|d2A2G2|
FA dcdB|Acedec|Agfedc|d4>:|
A4de/f/|e2d2c2|d4fg/a/|g2f2e2|
f4bc'/d'/|c'2b2a2|gfedcB|A4>|
d4fe/d/|cdAcB^d|e4gf/e/|dfBdce|
f4ag/f/|eg^cedf|efgefd|e2dcBA|
d4fg/a/|g2f2e2|fdgedc|d2A2G2|
FA dcdB|Acedec|Agfedc|d4>||

X:8
T:Gavot by John Williams (9)
C:Ioan Rhagfyr (John Williams)
M:C
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
R:Gavot
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:D
d2fde2ag|fdBdc2Bc|dAfd ecaf|gbBe dcBA|
d2fde2ag|fdBdc2Bc|dfaf dBag|FdEcd4:|
f2afg2eg|fdafe2dc|dfafdfed|c2B>AA4|
fdafgbeg|ecgefadf|gbd'bafed|AaG^ga4"DC"||

X:9
T:Hengwrt (?) Minuet
C:Ioan Rhagfyr (John Williams)
M:3/4
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
R:Minuet
O:Wales
A:Sir Feirionnydd
N: Enw'r darn yn aneglur yn y llsg.
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:G
g2g2g2|(gab) d4|(efg) dBcA|(Bcd) G4|
B2c2d2|ecfdge|fdbgd'b|adefga|
(bd'b) (ac'a) (gbg)|a2g2f2|(bd'b) (ac'a) (gbg)|a2g2fd'|(bag) f2 e2|d4>:||
d2d2(de=f)|edcBAa|e2e2(efg)|fgdcBb|
f2f2(fga)|gfedcc'|bgd'baf|gec'abg|
afd'bca|bgcbag|fgadef|(gbg) (faf) (ege)|
d2c2B2|(gbg) (faf) (ege)|d2c2Bg|(edc)B2A2|G4||

X:10
T:Cynedda M.C.C
C:Ioan Rhagfyr (John Williams)
M:C
L:1/8
Q:200
S:Ioan Rhagfyr, Robert Williams (John Williams, Robert Williams Flute MS. Dolgellau c.1760) Llsg2299 Bangor. From a photcopy of the original given to me by Llio Rhydderch.
O:Wales
A:Sir Feirionnydd
N:Nodyn ar dudalen 1. Y 5 alaw hyn allan o lyfr Ioan Rhagfyr perthynol i'r German Flute scale pa un a geir yw ei dechreu.

Nodyn ar dudalen 2 yn llaw Ll.Rh. Casglwyd gan Ythyr Williams o waith John Williams (Ioan Rhagfyr), Dolgellau. Ceir nodyn yn y llsg hon yn dweud bod y dyddiad 1767 ar lyfr Robert Williams, brwad Ioan Rhagfyr-Ll.Rh
Z:CRM
K:G
d4|B4A4|G4c4|A4A4|G4d4|
B4c4|d4d4|^c8|d4||
B4|d4d4|d4B4|c4B4|
A4A4|G4A4|B4c4|A8|G4||

llio recorded nannau minuet on her first cd called telyn.

nannau farm (the farm associated with the nannau minuet, also called the illtyd minuet in the ms, incidentaly) is the farm next door to one of the young students i worked with in the project described below. she informed me of this with great excitement, realising the closeness of the relationship between the tune and her own life.

on a tangent, i was told after a recent gig at ty siamas with the group i play in, fernhill, by a member of the audience afterwards that nannau farm is also associated with the great oak, the king of the trees, y brenhinbren as described in the traditional penillion verses below, inasmuch as a table that was fashioned from the great trunk was housed at nannau farm and the locals of my generation when they were young were taken on school trips to sit at the mighty table and marvel at its magnificent girth. here are the words as written down by me from memory and in my morgannwg, rather than the original meirionydd welsh.

ma llawer pen bencyn o'r dinas i benllyn
a dolydd i'w dilyn hyd lawr dyffryn clwyd
er garwed yw'r creigie sy o gwmpas dolgelle
gerwinach nag unlle yw'r ganllwyd
brenhinbren y ganllwyd oedd dirion a dorrwyd
mewn barieth fe'i bwrwyd o'r aelwyd lle'r odd
fe dyfodd yn gapten - ni fishodd un fesen
yn nolydd glyn eden glan ydoedd
yr odd yn bren gwrol a'i fodde'n rhyfeddol
a phawb yn ei ganmol o bobol y byd
a'r hen dade dywiol - rhai doethion odiaethol
a gadwodd yn fywiol ei fywyd
er claddu'r brenhinbren dan gwys y ddaearen
cynyddws un fesen yn gangen deg wych
ar hon y tyf gwyrdd-ddail - bydd mynych ei manddail
ma'r gwraidd mewn hen adfail hynodwych

later in the year, i will be starting an exciting project based in ty siamas, the national centre for welsh folk music, and the primary school in dolgellau. a pilot project has already taken place with the young students to considerable success. nearly eighty young people each built and began to learn to play their own flute alongside myself and john glennydd. the new project is a continuation of this work and involves a deeper, broader and slower aquaintance with the musical inheritance exemplified by ioan rhagfyr in particular and flute music and dance music in general.

we'll be learning to play tunes!

there will be individual tuition for the students at ty siamas during the schooltime afternoon and similar tuition for anyone else from about four pm till eight. there then follows a session till closing time.

ty siamas show commitment and vision for co-ordinating this project. the project is named in commemoration of one of the earliest flute players known in that area, sesiwn ioan rhagfyr

below follows their press and also dates of the upcoming sessions. please contact them for more info or to book a session

Tŷ Siamas, Eldon Sq, Dolgellau, Gwynedd LL40 1PU Phone: 01341421800

Sesiwn Ioan Rhagfyr
Lleoliad: Ty Siamas
7.30yh Sesiwn Anffurfiol yn y bar o dan arweiniad Ceri Rhys Matthews. O'r Hydref ymlaen bydd Ceri yn dod i Dy Siamas i gynnig gwersi ar y ffliwt i blant yr ardal. Bydd hefyd cyfle i oedolion ddechrau canu'r bib, y ffliwt neu'r pibau dan arweiniad Ceri cyn i weithgareddau'r diwrnod ddod i ben mewn sesiwn anffurfiol yn y bar. Mae croeso cynnes i bawb ymuno yn y sesiwn hon. Os oes gennych ddiddordeb yn y gwersi yna cysylltwch a Ty Siamas.

Location: Ty Siamas
7.30pm An informal session in the bar led by Ceri Rhys Matthews. From October Ceri will visit Ty Siamas every fortnight offering tuition to local children. There will also be the opportunity for adults to have lessons on the whistle, flute or pipes. The days's activities will culminate in an informal session in the Ty Siamas bar. Everyone is welcome to join in the lessons please contact Ty Siamas.

02/10/2007

16/10/2007

30/10/2007

13/11/2007

yscolan irish flute

2007-09-12T20:11:00.000Z

hoff iawn o hwn ac o hwn gan 岩茸 'cawsllyffant y graig'

fflicer newi

2007-05-21T20:04:00.001Z

lle newydd i ddoti llunie i gâl da fi fan hyn

impo

2007-04-01T19:22:00.001Z

today the fruit trees i have planted in the garden budded.
it was warm in the sun but a very cold north wind blew. four of the apples are planted as trees, one, the pig aderyn, as a standard. the rest are in two cordons, which include the four pear trees. the gage and the cherries are planted as trees.

many of the trees belong to the west herefordshire and south-east welsh 'tradition' most of the others are older breed english varieties. some belong to the the area in which i now live, south west wales. the pig aderyn possibly found its way here via the cistercian monks at llandudoch. twll tin gwydd translates as gooses arsehole. all the apples and pears have fascinating histories. some of the trees i bought from keepers nursery in kent. i used to live on a nearby farm building some twenty five or more years ago. more apple info to be had here. most of them i aquired from paul davis' nursery in dolau hirion applewise@tiscali.co.uk. the top drawing represents the cordon i planted the winter before last and the bottom drawing represents last winters' planting. below is a list of the names of the varieties in their pairings

saint cecilia = twll tin gwydd
pig aderyn = marged (morgan) niclas

ashmeads kernel = lord derby
thurston august = sunset
grenadier = lord lambourne

d'arcy spice = monmouth green
perthyre = burr knot
court pendu plat = lodgemore nonpareil
landore = morgan sweet
glansefin = cissy

pears
black worcester = catillac
louise bonne of jersey = beth

cherries
nutberry black = early rivers

cambridge gage

the southern vernacular word for 'to bud' is impo, from the english (?) word imp. english speaking south walians also call budding, 'impin'. the word has been in use since at least 1670

er torri brîg brenhinbren
a bwyell lem yn syden
yn lle bob cainc o’r bon di-freg
f’all impo deg ar ucen
(wiliam phylip 1580 -1670)

and in literal english

though cutting a branch of king of the trees
with a sharp axe suddenly
instead of every branch from the unfragile trunk
it can bud thirty

wiliam phylip was celebrated in a much later composition. here it is

X: 1
T:Difyrrwch William Phillip
M:4/4
L:1/8
R:Hornpipe
S:Llewellyn Alaw
N:Harpist, Aberdare. Nineteenth century
K:Dm
DEFG AB c2|d2d2cBA2|B2A2A3G|F2E2D4:|
F2FGA2AB|c2c2B2A2|d2def3e|d2^ced4:|

this is probably the product of a romantic imagination. it is in the collection of manuscripts that thomas david llewellyn (llewellyn alaw) collected. the collection is of his own manuscripts, old fiddle tune books, printed material &c that he used in his work as professional harper. the collection is now in the national library of wales manuscript room

cumbria cambria

2007-03-03T12:26:00.000Z

rheged, yr hen ogledd
yan, tan, tether, mether, pimp.
sether, hether, hother, dother, dick.
yan dick, tan dick, tether dick, mether dick, bumfit.
yan bumfit, tan bumfit, tether bumfit, mether bumfit, gigot.

X: 4
T:Rheged
M:3/4
L:1/8
Q:160
C:Trad
S:Blodau'r Grug Collection Vol. 1
R:Waltz
A:Wales
Z:brian_martin12345@yahoo.com
K:D
A2|d4A2|B2c2d2|ef gf ed|c3BA2|d4A2|B2c2df|e2d2c2|d4:||!
e2|f3ga2|b2a2f2|g3f eg|f2efd2|f3ga2|b2a2g2|f2a2^g2|a6|!
f3ga2|b2a2g2|g3f ed|c3BA2|d4A2|B2c2df|e2d2c2|d4||

X: 149
T:Lilly,The. HSJJ.150
M:4/4
L:1/8
Q:200
S:HSJ Jackson,Wyresdale,Lancs.1823
R:Reel
O:England
A:Lancashire
H:1823.
Z:vmp.Chris Partington.
K:D
dcdA B2AG|F2EDEE/E/E2|dcdAB2AG||FDEF DD/D/D2:|!
|:FDADF2FA|FDAF EE/E/E2|FDADF2AF|EDEF D/D/DD2:|!
|:dcdA~B2de|{g}f2ed e/e/e eg|gfedB2AF|EDEF D/D/DD2:|]

for a link to the wonderful and eclectic cumbrian tune collections of the winder family of wyresdale visit here

and the jackson collection here

this photo has no flute but a harp trumpet contrabass clarinet combination that is truly inspiring. oh, and a few fiddles

X:104
T:Tom Fowlers Hornpipe
R:Hornpipe
M:4/4
L:1/8
%%ID:00000607
O:England
A:Lancashire
Z:Richard Robinson
B:Winder collection
F: http://www.leeds.ac.uk/music/Info/RRTuneBk/gettune/00000607.abc
K:G
Bc|\
dcBA Ggfg | e4 d4 | \
cdcB ABAG | F4 E4 | \
DEFG A2B2 | c2de d2c2 |
BAGA D2F2 | G6::\
d2|\
g2bg e2ag | f4 d2ef |
g3f edcB | ABAG F3E |\
DEFG A2B2 | c2de d2c2 | \
BAGA D2F2 | G6 :|

this tune was known to harper thomas david llewellyn (llewellyn alaw) of aberdâr as tom tollin's hornpipe around the same period

X: 2
T:Tom Tollins Hornpipe
M:4/4
L:1/16
S:Llewelyn Alaw MSS National Library of Wales. NLW MSS 329-337
Z:Mary Humphreys tradtunes 2003-2-8
R:Hornpipe
F:http://trillian.mit.edu/~jc/music/abc/England/hornpipe/TomTollinsHornpipe_1.abc 2005-06-24 18:00:33 UT
K:G
B3c | d3cB3A G3gf3g | e8 d4 B4 | c3de3d c3BA3G | G3FA3F D3CB,3A, |
B,3CD3E F3GA3B | c8 e4 d4 | c3BA3G D3GF3A | G4 B4 G4 :|
|: d4 | g4 b3g d4 b4 | a8 g4 g4 | b3ag3f a3gf3e | e8 d4 d4 |
g3dd3d a3dd3d | b3dd3d c'3dd3d | b3db3d c'3dc'3d | b3db3d c'3dc'3d |
c'3ba3g f3ed3c| c8 a8 | a3gf3e d3cB3A | B8 g8 |
g3fe3d c3BA3G | E8 e8 | d3cB3A D3GF3A|G4 B4 G4 :|

flute erotica

2007-02-14T23:53:00.000Z

In praise of Mr Evan Rowlands, butcher, of Aberystwyth who with an unerring sense of the perfect aesthetic always manages to hit the loving note

X: 1
T:Y Fwynlan o Serch
M:6/8
L:1/8
Q:200
C:Trad
S:Evan Rowlands
N:Collected by Jennie Williams. "Sung by Mr Evan Rowlands
Aberystwyth, April 1910. Popular in the Mynydd Bach district
50 -60 years ago"
A:Wales
Z:CRM
K:D
C|D D D E E E|(A3A2) A|B A F D D E|(F3F2)F|
F d c B A c|(B3B2)B|A F D D D E|(F3F2)B,|
D C D E E E|(A3A2)B|B B B D D E|(F3F2)F|
F d c B A c|B3 B,3|D D D E E E|(A2 G/A/ B2>)|
D3 F F F|D D C B,2||
W: A ddoi di'r un fwynlan o serch
W: O flaen yr offeiriad yn wir
W: Yn fedrus ymrwymaf dy law
W: Heb hidio am dai nac am dir
W: Ac yno cymeraf di'n wraig
W: Yng ngwydd y cwmpeini fai 'nghyd
W: Yn eglur mewn geiriau Cymreig
W: Tra fyddo ni'n dau yn y byd,...
W: Tra fyddo ni'n dau yn y byd

and lest we not forget on today of all days

X:1
T:y folantein
H:noted by jennie williams, from the singing of evan rowlands, april 1911.
N:it was said to be very popular in the mynydd bach district 50 years ago
(1861)
O:traditional welsh. traddodiadol gymreig
M:C
L:1/4
Q:1/2=170
K:Em
B|Bedf|e2BB|Bedf|e2B:||
e|eeeB|BcBA|GBAG|F2E:

for some insanely erotic flute images please visit this site of st cecila's in edinburgh

and as a taster

gaeaf

2006-12-16T18:42:00.000Z

X:3
T:caingc y cathreinwr
S:ifor ceri ms
A:morgannwg
M:C
L:1/4
Q:1/4=180
W:o blin yw damshel pigau dur
W:a blin yw cur y galon
W:ond blinach ydyw colli run
W:a hi ei hun yn foddlon
K:C
c/d/|eedB|ccc>B|ccBA|^GEzA/B/|
ccc>c|dde>d|cBcA|^GEA2|B2A2:|

ifor ceri, or john jenkins, collected many tunes mainly in mid, south and west wales. he was not the first, iolo morgannwg having collected some eighty or so tunes a generation before ifor.

i shan't translate, so as not do purge their melancholy sound.

it has rained for thirty days. today, walking between llangrannog and ynys lochtyn i observed three trees; sloe, rose and gorse, budding. the horizon was rimmed with salmon pink and the calm sea a leaden colour, like salmon skin. to the north, yr eifl were only just visible but to the southwest, the preseli mountains were, in turn, purple, transparent and gold. in the village a street of houses was empty except for one inhabited building. the person explained that all the owners lived away and came back only for the summer. it is raw economics.

mary jones, who i don't know, has an excellent resource here. on it is to be found the juvencus englynion, some of the oldest examples of welsh verse, transcribed in the ninth century, apparently - and suitably wintry

The Three Juvencus Englynion, pp. 48-50.
Niguorcosam nemheunaur
Henoid mitelu nit gurmaur
Mi amfranc dam ancalaur

Nicanu niguardam nicusam
Henoid cet iben med nouel
Mi amfranc dam anpatel

Namercit mi nep leguenid
Henoid is discyrr mi coueidid
Dou nam riceus unguetid

The W. F. Skene Translation, 1869?
I will not sleep tonight, not one hour
Tonight; my houshold is not great.
I and my Franc around our kettle.

I sing not, nor laugh, nor sleep,
Tonight; though drinking the new mead,
I and my Franc around our pot.

No joyousness impresses me,
Tonight; my song is a lament.
Two do not talk to me [with] one speaker.

The Ifor Williams translation, 1932
I shall not boast vain things to-night
My retinue is not very large,
I and my hireling, about our cauldron.

I shall not sing, I shall not laugh, I shall not talk to-night,
Though we drank clear mead,
I and my hireling, about our bowl.

Let no-one ask me for mirth tonight;
Mean is my company.
Two lords...

whilst on the subject of iolo, and one is never far from it a link from mary's page takes us to an etext of some of iolo's english language poetry, which i also copy below as pages can disappear. their pastoral joy is perhaps a little out of context in this post but the pills and the melancholy they purge are not always that different from each other

Iolo | Johan Schimanski | Universitetet i Trømsø | 27.06.99
Iolo Morganwg:

Poems, Lyric and Pastoral (1794)

The following e-text contains a short excerpt from vol.1 of Poems, Lyric and Pastoral (J. Nichols, London 1794) by Edward Williams (=Iolo Morganwg, 1747-1826). See also The "Lyric Pastoral": A Natural Genre?.

Much of the layout and typography has been left intact, but long s (s not followed by a space or by a punctuation mark), spaces before (the more complex) punctuation marks, and "follow-on" words printed in the bottom right corner of each page have been suppressed. Certain words within the text are set in capitals: their initial letters are generally slightly larger than the those in the rest of the word, and this does not show in this version.

Unfortunately, this text being entered manually from a fax of the original, some of the letters had to be guessed at; these are enclosed in , thusly. Page numbers are provided in similar brackets. Also note that

Typed in by Johan Schimanski on the second day of 1993 at the University of Oslo; these texts may be copied & disseminated freely throughout the ether.

Thanks to Richard Crowe & Andrew Hawke of the Geiriadur Prifysgol Cymru for providing the originals at such short notice.

<182:>

C O N T E N T,

A LYRIC PASTORAL.

1. NOW morning meets my gladden'd eyes,
From healthful sleep I jocund rise,
With strength renew'd, and placid mind,
To relish Nature's joys inclin'd,
I speed to meet the fragrant gale
That wantons in the dewy dale;
And, as I pace the ow'ry way,
To sweet Content attune my lay.
<183:>

2. How clad with smiles the vernal morn!
How gay the bloom-bespangled thorn!
The lark is up, the welkin rings,
And with his flock the shepherd sings;
His notes a pleasing thrill impart;
They cheer my soul, and soothe my heart.
Oh! let my days like his be spent,
In rural shades with mild Content.
3. The Blackbird warbles on the bough,
The Milkmaid sings beneath her Cow;
The Mower, up with early dawn,
Prepares to fleece the clover'd lawn;
The Farmer views his blooming wheat*,
And starts the lev'ret from her seat;
* Blooming wheat.] The wheat's bloom is a beautiful, and ver interesting, rural object; though but little, if at all, noticed b modern Poets.

<184:>

Whilst I this lonely vale frequent,
To muse the praises of Content.

4. I verdant mead, and shady grove,
Dear simple scenes of nature, love,
And highly prize my happy lot,
That gave me one sequester'd cot,
Far from the bust of a Crowd,
Far from the mansions of the Proud,
And gave, to crown the blest event,
The tranquil feelings of Content. 5. Pleas'd with my little flock of sheep,
That on my native downs I keep;
Mine are the joys of Peace and Health,
And sure I want no greater wealth;
No vain desires my soul infest,
Nor dwells Ambition in my breast.
Heav'n, all such follies to prevent,
Tam'd all my thoughts to soft Content.
<185:>

6. Oh! thou from whom all comfort flows,
Whose hand the richest boon bestows,
Whose careful Providence imparts,
The purest bliss to humble hearts;
Oh! let me never find content,
But in meek thoughts on virtue bent;
Whilst, of thy laws enamour'd still,
I bow submissive to thy will.
__________

<186:>

A S O N G.

1. WITH Phillis alone in the grove,
I pass'd the still ev'ning away;
My song was the tale of our love,
She smil'd, and approv'd the lay.
I felt the sweet glance from her eyes,
It open'd the way to her heart;
And Phillis could never disguise
Her looks with the varnish of Art. 2. The blush that appear'd on her face
Out-rival'd yon rose in the grove;
It spoke with ineffable grace
The wordless confession of Love;
Whilst Modesty brighten'd her charms,
And sweet looks her affection express'd,
I took the clear nymph in my arms,
And held her with joy to my breast.
<187:>

T H E P A R T I N G,

A LYRIC PASTORAL.

1. LIFE yields no joy devoid of care,
It is our doom awhile to part;
But whilst I go, my lovely fair,
I leave with thee my constant heart;
Thy Colin shall, in plaintive song,
The stories of our love rehearse;
And, as the moment glides along,
Thy name shall fill my tender verse.
<188:>

2. I'll sing the well-remember'd hour,
When first I felt thy peerless charms;
When first, within this privet bow'r,
Thy beauties fill'd my circling arms;
I'll sing the sweet sequestered walk,
Or seat beneath yon aged thorn;
Where oft we met for tender talk,
At ev'ning mild, or dewy morn. 3. Whilst far from Delia sadly thrown,
And by Misfortune rudely tost,
Pursu'd by Fate's malignant frown,
In all my soul's enjoyment cross'd
The wintry storm will fleet away;
I'll bear those ills a little while;
And keep in view that happy day,
When thou shalt meet me with a smile.
<189:>

4. Wilt thou, my Delia, keep my heart
Still faithful as the turtle dove?
And let no swain, with baleful art,
Induce thee to forget my love?
My soul to thee shall true remain,
Till Fate, in pity to my sighs,
Relenting kindly, shall again
Restore thee to my longing eyes. 5. Wilt thou frequent our fav'rite bow'r,
And wilt thou there in silence mourn,
Till time brings on the blissful hour,
That sees thy lover's wish'd return;
When Colin in its green alcove,
With Delia meets, no more to part;
Whilst, in that eye, the look of love,
Restores thee to my joyful heart?
<190:>

6. Whilst on this tender theme I muse,
It yields my soul a soft relief;
Hope brightens up its lovely views,
And charms away the glooms of grief.
Though Fate our envy'd bliss delays,
And dooms thy Colin far to rove;
Yet we shall end ur happy days,
United in the bands of love.
The Reader will observe, that the term Lyric Pastoral has been often used, and will, perhaps ask, for what reason?—It is this—We often observe Shepherds, and other rural characters, diverting themselves with songs, which are always, in the proper sense of the word, sung to a tune; the verse of course must be Lyric<.> SHENSTONE'S Pastoral Ballads are, for this reason, amongst others, far more natural than the Bucolics of Theocritus, Virgil, and many more that could be named; this at last is a<191:> Welsh Bard's opinion, who admits of no authority but that of NATURE. We often hear the fields resound with Chevy Chase, Tweed Side, and such popular songs. Shepherds, Ploughmen, and Goatherds, will often write verses to favourite tunes in praise of their Phillidas, their Annies, and their Delias. But we never meet with them spouting Heroics, "sub tegmine fagi." At least it is thus in every part of BRITAIN. But some, it seems, are of the opinion that we should write for other countries, climates, and times, rather than our own. Bravo! my good Critics!

__________

<147:>

P A S T O R A L.

In the Welsh Manner*.

1. AN arbour sequester'd I found,
Of hawthorn, with woodbines attir'd<;>
'Tis hid by green thickets around,
'Tis by my dear Phillis admir'd
I led her one day to the place,
From all observation apart;
And, urg'd with a lover's embrace,
I told her of my heart!
* There is nothing in the Welsh poetic taste, however deftive in other respects it might appear, absurdly derived from mythology, sentiments, and scenery<,> of the Greek and Ro Poets; but all is the natural growth of BRITAIN.

<148:>

2. See, Phillis, the gladness of Love<,>
On ev'ry sweet object impress'd;
It softly distills from above,
To soothe our afflictions to rest;
Though saddest misfortunes arise,
Assuming each terrible form;
Love's willing attention supplies
A shield that can battle the storm.
3. Unblest are all those who decline
What Love, only Love, can bestow!
Nought else can our pleasures refine,
Nought else of true comfort we know;
'Twill brighten the gloom of our days,
'Twill keep our best feelings awake;
O! let us, avoiding delays,
Of Love's balmy raptures partake.
<149:>

<4.> Observe the gay thickets and
The skies that are fulgent above;
The fragrance we breathe in the gales;
All die with the season of Love!
For, all that is charming of Spring,
The Summer's high fervor will burn;
And, bearing the storm on it's wing,
Stern Winter will quickly return. 5. How sweet are the valleys of May!
Delicious the mornings of June!
We'll prize them, be jocund and gay,
To joy the new carol attune;
The birds have a musical strain!
How fragrant the beautiful rose!
But, seeking, we seek them in vain,
When woodlands are cover'd with snows.
<150:>

6. Our moments incessantly waste,
Soon vanish unheeded away;
Youth flies on the pinions of haste,
Nor listens to mortal delay;
Then let us, my Phillis, improve
Our time that is dwindling apace,
And, yielding to Nature and Love,
The joy that's allow'd us embrace!

and follows a return to wintery coldness in a song, originally noted by iolo, rendered in my dialect

fi wn lle ma gwitw tu wnt i gyrdydd
lle gallwn ga'l decpunt i ala bob dydd
a finne duw'm elpo mor wan ac mor wa'l
yn caru merch ifanc heb ddim iddi'i ga'l

here is an old tune pricked down by iolo morgannwg. it is not related to the verse. i am indebted to daniel huws of penrhyncoch who lent me his copy of the original. the barring is as pricked by iolo

X:1
T:cywydd deuair "morgannwg"
O:LLGC Llsgrau Iolo Aneurin Williams heb eu catalogio
N:priciad Iolo Morgannwg (Edward Williams)
M:C
L:1/4
K:C
ABcAGABEABcABcAA|
EEE>FEDEA|FFG>FEDEA|cABEB>cBA||

perllan

2006-11-08T20:40:00.000Z

gair cloi parthed a'r berllan onedig. dyma rester o'r fale (a'r pers ne'r gellyg) a'u cymare sy wedi'u blannu yn barod (ar y gwilod) - a'r rheini sy i ddod (ar y top) llun i ddilyn

black worcester (xcatillac) = pitmaston duchesse (xbeth)

d'arcy spice des 14 D =cornish aromatic des 15 D
essex1785

devonshire quarrenden des B = burr knot ck 9C
1676 popular in s wales

court pendu plat des 26G = lodgemore nonpareil )des 23F
1610 1808 glos

tom putt sdr 10C =morgan sweet S B
dorset somerst 1700 / swales

afallon1

ashmeads kernel des 14D
glos ruset 1700

discovery (thurston august) des 11C
essex (worcester pearmain x possibly with beauty of bath) 1949

grenadier ck 11C
slough.1862

lord derby ck 14D
cheshire 1862

lord lambourne) des 8C
beds (james grieve x worcester pearmain) 1907

sunset des 10C
kent (raised from a cox's orange pippin) 1918

saint cecilia des 7B
(raised from a cox's orange pippin?)

twll tin gwydd des/ ck 7B
llangadog

wish list: perthyre, pitmaston pine apple, monmouth green/landore, cissy

y gwir yw hornpipes yw fale wedi'u blanu miwn cordon. dyma gwd hornpipe

X:1
T:Jacob
T:Enrico
M:4/4
L:1/8
Q:1/4=90
S:Mobberley session
R:English reel
N:Posted to the woodenflute mailing list November 2001. JACOB. AKA and see "Enrico." English, Reel. England, Dorset. D Major. Standard. AABB. See note for “Enrico” for more. Trim (Thomas Hardy), 1990; No. 13.
ENRICO. AKA – “Henryco,” “Water Loo Fair.” AKA and see "Jacob." English, Reel. D Major. Standard. AABB. The melody's original title was "Jacob," but was retitled by English author and musician Thomas Hardy. It was his favorite tune. The title appears in Hardy's (who was also an accomplished accordion player and fiddler) drama The Dynasts:
***
Let us go and look at the dancing. It is 'Voulez?vous danser'
? no, it is not, ? it is 'Enrico' ? two ladies between two gentlemen.
***
According to Hardy’s biography, the four-year old Hardy would sometimes burst into tears when his father played this and other tunes to him on the fiddle. Hardy, around the year 1925, wrote that “Enrico” was the usual vehicle for the country dance called Bonnets of Blue, or in Dorset when he was young, Hands Across. In his novel Under the Greenwood Tree the dance is described (but not named) as the one in which Shiner refuses to cast off (E.F.D.S. News, No. 12, Sept., 1926). The Welch manuscript gives the alternate title “Water Loo Fair” (while calling “Enrico” by the name “Henryco”). Trim (Thomas Hardy), 1990; No. 13 (appears as “Jacob”). BEJOCD-28, The Mellstock Band – “The Dance at Pheonix: Village Band Music from Hardy’s Wessex and Beyond.”
Z:Steve Mansfield January 2001
K:D
A2 | d2 fe dcdB | ABAG F2 A2 |
d2 ef gfgf | e2 a2 a2 A2 |
d2 fe dcdB | ABAG F2 A2 |
B2 gf edec | d2 d2 d2 ::
fg | a2 ag fgfe | dedc B2 B2 |
gagf efed | cdcB A2 (3ABc |
d2 d2 cecA | d2 d2 cecA |
d2 f2 edec | d2 d2 d2 :|

a dyma i chi gwd afal - sant cecilia hy - nawddsantes cerddorion dim llai

buws yn boblogedd ym mynwy y ganrif dwytha C20 hy.

nosweithie'n tynnu miwn

2006-10-16T19:47:00.000Z

wedyn mwy o amser i hala ar y blog a llai yn anffodus yn yr ardd. mwy am hynny maes o law.
yn y cyfamser, mae'r peirianne wedi bod yn siarad a'u gily
と数字譜連携の可能性

mehefin

2006-06-09T11:06:00.000Z

two things today made me think of this poem by gerard manley hopkins, written when he was at ffynnon feuno, tremeirchion in the summer of 1877

pied beauty

glory be to god for dappled things—
for skies of couple-colour as a brinded cow;
for rose-moles all in stipple upon trout that swim;
fresh-firecoal chestnut-falls; finches' wings;
landscape plotted and pieced—fold, fallow, and plough;
and áll trades, their gear and tackle and trim.

all things counter, original, spáre, strange;
whatever is fickle, frecklèd (who knows how?)
with swíft, slów; sweet, sóur; adázzle, dím;
he fathers-forth whose beauty is pást change:
práise hím.

the first being the dappled light under a lime tree equally burning and refreshing my closed eyes. the second being the dead body of a songthrush that lay wasted by a closed window. the window reflecting the landscape behind the bird as she flew.

some tunes have, to me, a dappled quality. others a grey chromaticism. this tune being in the former category

x:1
t:aberdulais
m:2/4
l:1/8
q:220
c:traddodiadol o lyn nedd
k:am
e|a>bcd|e2df|e2df|e2dc|d2cb|c2ba|b3c|a3e|
a>bcd|e2df|e2df|e2dc|d2cb|c2ba|^geab|a2a/b/c/d/||
eeec|a3b/c/|dbgb|gbd2|a>bcd|edcb|a2gb|a2a/b/c/d/|
eeec|a3b/c/|dbgb|gbd2|a>bcd|edcb|a2gb|a3||

here is a painting by turner 1775-1851 of aberdulais mill, painted some two generations before the tune was pricked down, later to appear in alawon fy ngwlad, the collection by nicholas bennet of glanyrafon.

this watercolour by turner of porth mawr, porth ia (st ives in cornwall) also displays a deep freckled luminous quality.

thomas jones of trefonnen, radnorshire, 1742-1803 was a student of richard wilson and a near contemporary of turner, as well as of these two tunes. he found his visual 'voice' when painting in naples.

his paintings visually represent to me the chromaticism i find in this next tune. not a musical chromaticism of intervals but a quality of colour, echoed particularly in the timbre of the flute in this key.

x: 2
t:cerrig yr afon
m:6/8
l:1/8
k:gmix
e|dbgcaf|g2dgfe|dbgcaf|g3g2e|
dbgcaf|g2dgfe|dbgcaf|g3g3||
bcde2d|cbab3|babe2z|babe>ze|
dbgcaf|g2dgfe|dbgcaf|g3g2z|
bcde2d|cbab3|babe2e|babe>ze|
dbgcaf|g2dgfe|dbgcaf|g3g2|

it is a quality one would associate more perhaps with the end of the year as in this poem written by thomas hardy on the last day of the nineteenth century

the darkling thrush

i leant upon a coppice gate
when frost was spectre-gray,
and winter's dregs made desolate
the weakening eye of day.
the tangled bine-stems scored the sky
like strings of broken lyres,
and all mankind that haunted nigh
had sought their household fires.

the land's sharp features seemed to be
the century's corpse outleant,
his crypt the cloudy canopy,
the wind his death-lament.
the ancient pulse of germ and birth
was shrunken hard and dry,
and every spirit upon earth
seemed fervourless as i.

at once a voice arose among
the bleak twigs overhead
in a full-hearted evensong
of joy illimited;
an aged thrush, frail, gaunt, and small,
in blast-beruffled plume,
had chosen thus to fling his soul
upon the growing gloom.

so little cause for carolings
of such ecstatic sound
was written on terrestrial things
afar or nigh around,
that i could think there trembled through
his happy good-night air
some blessed hope, whereof he knew
and i was unaware.

two tunes for two throstles

kintevin

2006-05-09T16:40:00.000Z

april is the cruelest month... but

another reverdie says, in tri thrawiad meter,

mae'r ddaear yn glasu
a'r coed sydd yn tyfu
a gwyrddion yw'r gerddi
mae'r llwyni mor llon
a heirdd yw'r egine
a'r dail ar y dole
a blode'r perllane
pur llawnion

X:1
T:Mae'r Ddaear yn Glasu (Carol Mai)
M:2/4
L:1/8
Q:1/8=150
C:Tradd
K:Am
A|ee2e|dd2d|c2ec|BB2A|
c2de|ed2c|AA2c|B3A|cc2B|
Ad2e|gg2e|fe2e|fe2c|
ec2A|c(A3|A3)z|

and this from the thirteenth century reading abbey ms

svmer is icumen in,
lhude sing cuccu
groweþ sed and bloweþ med
and springþ þe wde nu,
sing cuccu
awe bleteþ after lomb,
lhouþ after calue cu.
bulluc sterteþ, bucke uerteþ,
murie sing cuccu!
cuccu, cuccu, wel singes þu, cuccu;
ne swik þu naver nu,
sing cuccu nu. sing cuccu.
sing cuccu. sing cuccu nu

the cuckoo in the following poem from llyfyr du caerfyrddin presages what sir ifor williams calls a change to the minor key when mentioned. the translation is by ifor williams also

kintevin keinhaw amserr
dyar adar glas callet.
ereidir in rich ich iguet
guirt mor brithottor tiret

ban ganhot cogeu ar blaen guit guiw
handit muy uy llauuridet

maytime, fairest season
loud are the birds green the groves
ploughs in furrow ox under yoke
green is the sea lands are many coloured

when cuckoos sing on the tops of fine trees
greater grows my gloom

the melancholy of the welsh cuckoo according to williams is that "in old welsh the interrogative of place 'where?' was cw (pronounced like the english coo) men everywhere heared the cuckoo's call as cw cw" this is also true in persia, apparently

more than a hint of sublime melancholy can be heared in this version of the cuckoo's nest from mid/northeast wales. the ms (cwrtnewydd) passed through the hands of mary richards sometime in the middle of the nineteenth century. she was the vicar of darowen's daughter and played the fiddle

X:1
T:nyth y gwcw (miss pritchard)
O:traditional welsh
O:cwrtnewydd ms
M:2/4
L:1/4
Q:1/2=100
K:Em
Bd|e3e|efge|dBBA|B2dB|ABde|faef|d2B2|B2Bd|
e2ef|g2fe|dBGB|d2BA|GFGE|D2BA|1GAFG|E2:||2GAFG|E4|
B3G|EGG2|BAGF|E2FG|AFF2|DFF2|AGFE|D2EF|
G2GF|G2GE|DBGB|d2BA|GFGE|D2BA|GAFG|E4:||

very little melancholy is to be encountered on padstow's joyful may day celebration. the same swagger can be heared in the music as in the welsh spring carol above

day song

unite and unite and let us all unite,
for summer is acome unto day,
and whither we are going we will all unite,
in the merry morning of may.

arise up mr..... i know you well afine,
for summer is acome unto day,
you have a shilling in your purse and i wish it was in mine
in the merry morning of may.

all out of your beds,
for summer is acome unto day,
your chamber shall be strewed with the white rose and the red,
in the merry morning of may.

where are the young men that here now should dance,
for summer is acome unto day,
some they are in england and some they are in france
in the merry morning of may.

where are the maidens that here now should sing
for summer is acome unto day,
they are in the meadows the flowers gathering,
in the merry morning of may.

arise up mr..... with your sword by your side,
for summer is acome unto day,
your steed is in the stable awaiting for to ride
in the merry morning of may.

arise up miss..... and strew all your flowers,
for summer is acome unto day,
it is but a while ago since we have strewed ours
in the merry morning of may.

o! where is st. george,
o, where is he o?
he is out in his long-boat all on the salt sea o.
up flies the kite and down falls the lark o,
aunt ursula birdhood she had an old ewe
and she died in her own Park o.

with the merry ring, adieu the merry spring,
for summer is acome unto day,
how happy is the little bird that merrily doth sing
in the merry morning of may.

the young men of padstow might if they would,
for summer is acome unto day,
they might have built a ship and gilded her with gold
in the merry morning of may.

the young women of padstow might if they would,
for summer is acome unto day,
they might have made a garland with the white rose and the red,
in the merry morning of may.

arise up mr..... and reach me your hand,
for summer is acome unto day,
and you shall have a lively lass with a thousand pounds in hand
in the merry morning of may.

arise up miss.... all in your cloak of silk,
for summer is acome unto day,
and all your body under as white as any milk,
in the merry morning of may.

with the merry ring, adieu the merry spring,
for summer is acome unto day,
how happy is the little bird that merrily doth sing
in the merry morning of may.

now fare you well and bid you all good cheer,
for summer is acome unto day,
we call no more unto your house before another year
in the merry morning of may.

X: 1
T: padstow may song (day)
O: Trad
M: 2/4
L: 1/8
Q:1/4=80
K: G
P: verse
D \|D2 EF|G2 A2|GG GF|E2 D2|EE FF|G2 DB,|A,3 D|
|ED GA|G2 FD|G>D GB|d2 cB|AB c2|B2 AF | G4-|G2 z :|
P: chorus
M: 3/4
L: 1/4
|: D|GGG|G2D|GAB|A2B|EFG|AEA|ABc| BAF|G2:|

wennolied yn llangeitho

2006-04-22T20:52:00.000Z

ebrill 22...

eiste dan ywen. gweld wennolied cynta'r flwyddyn.
wyn yn brefi...

Driver John Dewi Jones, Heatherdown,
RAOC Battalion yn North Africa Rhagfyr 22ain 1942 yn 23 oed

L. Sgt Thomas Jones, Plas,
East Surrey Regiment yn Tunisia, Ebrill 13eg 1943 yn 24 oed

(Corporal Jenkin Davies, Wenallt,
1st Battalion Lincolnshire Regiment yn Burma, Chwefror 16eg 1944 yn 29 oed)

mwyaf garw marw ymhell

hala i fi i feddwl am gan yma o de lloegyr

our captain cried, all hands and away tomorrow
leaving us girls behind in grief and sorrow.
what makes you go abroad, fighting for strangers
when you could stay at home, free from all dangers

you courted me a while just to deceive me
now you have gained my love, you meant o leave me
there's no trusting men, not my own brother
so girls if you would love, love one another

the drums are beating love the pipes are playing
i must be on my way no longer staying
dry off your brandy tears and leave off weeping
for happy we shall be at our next meeting

oh I'll roll you in my arms me dearest jewel
so stay at home with me and don't be cruel
she fell up on the ground like one was dying
this house was full of grief, sighing and crying

a chan siams twrfil, trelai ( ond a odd ganddo chysylltiade a tulu matthews ewenni a llangyfelach trwy mam edward williams?)

ffarwél fo i langyfelach lon
a'r merched ifenc i gyd o'r bron
fi'n mynd i drîo pa un sydd well,
p'une ngwlad y'n hunan neu'r gwletydd pell

a martsio wnes i yn y blân
nes imi ddod i dre bontfân
ac yno 'roeddent fawr eu sbort
yn listio'r gwyr at y duke of york

droies ymhen ac i ryw dy,
yr aur a'r arian odd yno'n ffri
y dryms a'r ffeiffs yn catw swn
a listo nes at y light dragoon

rôl ini martsho i lunden fry
duty caled ddath arnon ni
andlo'r dryll a'r cleddyf nôth,
y bwlets plwm a'r pwdwr pôth

ddâth despatch yn fore iawn,
ac un arall y prynhawn,
fod yr english fleet yn hwylo i mâs
a finne dros y cefnfor glas

ffarwél ynhad a'm hannwyl fam,
sy weti'n facu a'n nwyn i'r lan
yn dyner iawn ar aelwyd lân,
a chan ffarwel fo i'r merched glân

os holith neb pwy nâth y gân,
gwetwch iddynt ta merch fach lân
sydd yn gweddio nos a dydd
i'w hannwl gariad gael dod yn rhydd

cysylltu yn ymhen wedyn enwe daniel rowland llangeitho

ag evan rowlands

buodd john thomas cellan yn tynnu llunie yn llangeitho ar ei fordd i lerpwl. a oedd y folantein yn atseinio ym mhen bet fach, llangeitho? a'i wyr ath i ogledd affrica?

llwybre mal du pays

2006-04-13T15:29:00.000Z

tunes may be thought of as paths, along which places and people are encountered. a tune can take us to a new place - a place we have never been to, one that excites or agitates us; or on the other hand to an old place which may hold for us memories or other emotions that we cannot name. more than yearning pehaps - more than hireth, more than mal du pays.

sometimes there exists a path between two tunes, tunes that may have a common ancestry but which have been seperated by time and culture

X:1
T:glory of the west
B:playford
M:C
L:1/8
Q:1/4=180
K:Em
GFGF E2 E2|FEFE D2 D2|G2 FG A2 GA|B2 FG E2 E2:|
BABA G2 dc |BcBA G2 G2|d2 de A2 A2|d2 de A2 A2|
e2 ef d2 de|BA BA G2 G2|d2 de B2 AG|AGFE D2 D2|
G2 FG A2 GA|B2 FG E2 E2:|

thomas hardy wrote of the roman road

the roman road runs straight and bare
as the pale parting-line in hair
across the heath. and thoughtful men
contrast its days of now and then,
and delve, and measure, and compare;

visioning on the vacant air
helmed legionaries, who proudly rear
the eagle, as they pace again
the roman road.

but no tall brass-helmed legionnaire
haunts it for me. uprises there
a mother's form upon my ken,
guiding my infant steps, as when
we walked that ancient thoroughfare,
the roman road.

X:2
T:blote'r gorllewin (flowers of the west)
O:traditional welsh
M:C
L:1/8
Q:1/4=90
K:Em
G/F/|E>GEG|EGFE|EAFE|D3E/F/|G3F/G/|A3G/A/|
BEGF/G/|E2-E:||
d|BGA/B/c/A/|BG2d|BGA/B/c/A/|BG2B/c/|
d-d/e/dc/B/|cAzB|d-d/e/dc/B/|cAzB|e2ed/c/|d2dc/B/|cBAG|BA2B|
d>edc|BABc|dGF/G/E/F/|D3E/F/|G3F/G/|A3G/A/|BEGF/G/|E3:||

glory of the west first appears in print in playford's collection of dance music
and blote'r gorllewin in, i think john parry's british harmony.

the version printed above is a currently played variant from a facsimile of a book entitled davidson's musical miracles - two hundred and fifty welsh airs for a shilling, adapted for the violin, flute, accordion or any treble instrument about which i know nothing other than it is a llannerch press reprint of the edition of 1859. ISBN 1 86143 084 1. the book was given to me by boston/aberystwyth flute player william mahon

fidelity to the living

2006-04-03T15:17:00.000Z

cerdd arall gan vernon watkins yw

fidelity to the living

tenuous life, i have wronged you. you are the leaves, the sun,
the light, the bird at peace in the sky, though pulled by a
plummet of lead.
out of dark books i accused you. o look at her face: there is spun
a thread of light from her silence: she holds that beautiful thread.

the mother lifts her child to her breast. o what infinite, tender
frailty! she laughs near his eyelids: o, above solomon blest!
the great magnanimous leaves have opened. plucked from their
judgement in splendour,
even now, by the very thread that binds them, they are at rest

heddi ma'r prenne fale plannes dros y gaea wedi impo.
dyma driban gan wiliam phylip (1580 -1670)

er torri brig brenhinbren
a bwyell lem yn syden
yn lle bob cainc o'r bon di-freg
f'all impo deg ar ucen

a dyma diwn o glasciad llywellyn alaw, telynor o aberder odd yn byw yn y ddeunawfed ganrif. yfe rhoddws yr enw i'r tiwn

X:1
T:Difyrrwch William Phillip
M:C
L:1/4
Q:200
K:EAEO
EFGA Bc d2|e2e2dcB2|c2B2B3A|G2F2E4:||
G2GAB2Bc|d2d2c2B2|e2efg3f|e2^dfe4:||

perthyn yr afal, a'r gelli i deulu'r rhosynnod ac mae'r afale bwytadwy gyntaf yn dod o alma ata. ffrwyth llafur canrifoed o gerddwyr yw'r afale sydd gyda ni heddi. y mathe dwi wedi plannu yw

ashmeads kernel, discovery, grenadier, lord derby, lord lambourne, sunset, pig aderyn, saint cecilia, marged niclas a twll tin gwydd. y gellyg yw beth a catillac. afal sy'n dda i weitho seidir yw pig aderyn

fidelity to the dead

2006-04-02T13:24:00.000Z

is a poem by vernon watkins

fidelity to the dead

the whithered leaf is blest, and the bird with shrunk claw in the shingle.
under the shawl of the life-yielding hand has caught the passionate thread.
immortal slience tranfigures them. o ultimate faith found single,
o light of immense meditation, from the timid you have fled.

love steals from the fortunate man and gives to the heart it bereaves.
dark thunders descend on prometheus. a light over earth is shed.
how, with love's great example, should i fear what the blind fate weaves?
love is fidelity to the unfortunate dead

vernon watkns would visit the glynn vivian galleryduring his lunch break on an almost daily basis. his friend alfed janes' portrait of vernon is displayed there. here is an exquisite nature mort by alfred janes

watkins, janes, dylan thomas, daniel jones and others would drink coffe in the kardomah cafe together and all had connections with the gower peninsula. the gower nightingale, phil tanner would sing a tune he called the manchester hornpipe when the gower reel was to be to be danced in llangennith. this tune was known by other names in other parts of the country. in port einon the following tune was used to dance the gower reel

X:8
T:Port Einon Whim / Mympwy Portheinon
M:2/4
L:1/16
K:G
B2Bc dedc|B2Bc dedc|B2G2 GABG|A2D2 D2dc|!
B2Bc dedc|B2Bc dedc|BdGB| AcFA|GFGAG4:||!
gfga gdBd|gfga gdBd|gfga b2g2|fefg afed|!
edef gece|dcde dBGB|AGAB cAFA|GFGAG4:||

the south wales version of the end of year veneration of the dead was known locally as y feri or y fari lwyd.

though vernon lived in pennard for most of his adult life he came from near maesteg and the feri would visit his house on nos galan when "judgment hangs in the balance, just after midnight, between the old year and the new"

his long poem the ballad of the outer dark begins

come to me, mother of god, come down as the old year ends, frost-mother, mother of the stars and the of the white, wave-beaten sands. i hear the sea wave fall like a knife, dividing exiles and frends

rhyddyd i gelfyddyd

2006-03-30T19:51:00.000Z

much is made of bardic poetry in wales. historically, it was usually comissioned or written in praise of a patron. although today the social context which gave rise to this highly wrought, almost enclosed world of word labour is gone much of the consonant trickery (as well as difficult verse forms) remains in the modern poetry. i can't do it...

there was poetry before this canu caeth (caeth = bondman n.m. (caethion) slave n.m. (caethion) bond adj. confined adj. close adj. strict adj. stringent adj. draconian adj. impacted adj.) as well as during and after, that was free from the bonds of cynghanedd as well as being structurally different from the 24 recognised bardic meters. it was sung by the cler
as the professional bards called them. cler means flies or dung beetles.

one of these meters is called englyn milwr

du dy farch du dy capan
du dy ben du dy hunan
iad du. ai ti yscolan

mi yscolan yscolheig
yscon ei bwyll. yscodig
gwae ni bawdd a gawdd gwledig

o losgi eglwys a lladd buwch ysgol
a llyfyr rodd - ei foddi
fy penyd yw trwm cyni

creawdwr y creadurie. perthide mwya
madde di imi fy gau
a’th fradws ti a’m twylles inne

blwyddyn llawn y’m doded
ym bangor ar pawl cored
edrych di. poen i mi gan môr bryfed

bai ys gwypwn ar wn. mor amlwg gwynt.
o flaen brig gwydd ffaw llwm.
ar a wneuthum e byth nis gwnawn.

here is my rough translation

black your horse, black your cloak
black your head, black your self
black skull, is it you, yscolan?

i am yscolan the champion.
you are light brained you wild phantom
woe to him who does not give what the hero wants

for burning a church and killing school cattle
and drowning of a gift book
my sentence is heavy anguish.

creator of creatures strangest wonders
forgive my wrong
he that betrayed you deceived me.

i was put for a full year
in a wattled fence on the stake of a dam
see the pain I have from sea insects

if I had known what I know. as plain as wind
before branches that are brittle on sick trees
i would never have done what I did

the original can be veiwed here

the englyn milwr form changed slightly and is alive in todays tradition and known as a triban

it is not much concerned with the fabric of poesy any more but rather uses that fabric to make jokes about bottoms and genitals. it reached its zenith in south wales in the early twentieth century when its ribaldry came face to face with religious fundamentalism. as the language declines so does the tradition

fi gwnes acha bora
fi nethoi fargen deche
fi brynes fochyn gan ryw ddyn
a thwll ei din yn ishe

tri peth ni saif yn llonydd
yw niwl ar ben y minydd
col o fangor heb un clwm
a chala twm sion dafydd

mi weles merch lliw'r lili
yn pisho ar y bili
ag wrth ei waith yn gyllwng dwr
bu dounaw gwr ar foddi

tri pheth ni saif heb shiglo
yw llong ar mor yn seilo
dail yr aethnen un yr haf
a thin merch braf wrth ddanso

these verses can be sung to the melody given below - y folantein

binary, ternary and crug-y-bar

2006-03-29T15:47:00.000Z

in an interview here with, i think, brad hurley, jean michel veillon says, regarding the playing of breton music on the wooden flute for dancing that,

rhythms are never as simple as they seem to be at first: in the majority of breton tunes, there is an almost omnipresent swing between binary and ternary rhythms; sometimes imperceptible, but important.

crug y bar is a famous welsh hymn tune, now sung to words by david charles but credted in hymn books as being traditional welsh. a tune called saron (also known by other names) was pricked down by ifor ceri (john jenkins) before 1820, thus predating the binary rhythm tune crugybar, which was incidentally also known as bozra. not what jmv is directly talking about perhaps but certainly an example of words dictating tune rhythm

X:1
T:Saron
N:casglwyd gan ifor ceri cyn 1820
M:3/4
L:1/4
Q:100
K:D %Transposed from G
D/E/|FFG|AAF|D/F/ D D/E/|FBA/B/|AFE|D2:||
A/G/|FGA|Bdc|BAA/G/|FED/E//F//|GGF|E2D/E/|
FFG|AAF|D/F/DD/E/|FBA/B/|AFE|D2:||

X:2
T:crugybar
M:4/4
L:1/4
Q:100
C:tradd.
K:D
D|F2FF|FA2F|DE2D|AB2A/B/|AF2E|D3:||
A|A2GF|B2Bd|BA2G|FA2B|B2AF|E3|
D|F2FF|FA2F|DE2D|AB2A/B/|AF2E|D3|

battle of the trees

2006-03-27T16:53:00.000Z

here is the text for kat godeu, or the battle of the trees, - as i can make it out.
it is copied from the drych digidol, an online resource from the national library in wales.
the x's and ?'s are letters i can't make out. it is found in peniarth 2.
it is associated with taliesin, and was written, if i remember correctly, near gorseinon in south west wales

23
Kat godeu.
B um yn lliavs rith kyn bum dis///
| gyfrith. bum cledyf culurith. credaf pan
writh. bum deigyryn awyr. bum serwav syr.
bum geir yn llythyr. bum llyfyr ym prifder.
bum llugyrn lleufer blvydyn ahanher. bum
pont ar triger ar trugein aber. bum hynt bu
eryr. bum corvc ymyr. bum drwed yn llat.
bum dos ygkawat. bum cledyf yn aghat. bum
yscvyt yg kat. bum tant yn telyn lletrithaut
nav bloydyn. yn dvfyr yn ewyn. bum yspvg
yn tan. bum gvyd yn ^ gwarthan. nyt in i vyf ny
gan keint yr yn bychan. keint yg kat godeu
bric. rac prydein wledic. gveint veirch canholic.
llyghessoed meuedic. gveint xxx mavrem. ar
navyd oed canpen. a chat erdygnavt dan von
ytauavt. a chat arall yssyd ynywegilyd. llyff/
an du gaflav. Cant ewin arnav. neidyr bre/
ith gribavc. cant eneit trvy bechavt aboenir
__________________________________

24
yny chnavt. bum ygkaer nefenhir nav yt gryssynt
wellt gvyd. kenynt gerdoryon kryssynt katna
on. dacv yrein y brythron aoreu gvytyon. gelwyf
sit ar neifon argrist o achvysson. hyt pan y gva
rettei yren ru digonsei. as attebvys dofyd trvy
ieith ac eluyd. rithuch riedivc wyd. gantav yn
lluyd. arvystrav peblic. kat arllav annefic. pan
svynhvyt godeu. ygobeith an godeu. dygot torynt
godeu opedrydant canheu. kvydynt am aeveu.
trychvn trymdieu. dyar gardei brin. tardei am
atgun. Blaen llin blaen brin. budyant buch
anhun. nyn gvnei emellun. gvaet guyr hyt
an clun. muyhaf teir aryfgryt. athweris ym
byt. ac un aderyv o ystyr dilyv. achrist ycroccav
adydbraut racllau. Gvern blaen llin awant gys/
seuin. helyc a cherdin. buant hvyr yr bydin.
P?irmwyd yspin anwhant o dynin. keri kywir/
nhim. gvrthrychyat gvrthrin. ffuonwyd eith/
yt. erbyn llu o gevryt. duanwyd gvneithyt. ny
goreu emwyt. yr amgelvth bywyt. Byswydd
agvyduvyt. ac eido yr y bryt. mor eithin yr gryt.
siryan senyssit. Bedw yr y baur bryt. bu hvyr gv
iscyssit. nyt yr y lyfyrder. namyn yr y bavred.
anron delis bryt. allmyr uch allfryt. ffeintwyd
ygkynted. kadeir gygwryssed. am goreu ar dyrched rac bron teyrned. llvyf yry baranhed
_____________________________________

25

nyt o scoes troetued. ef lladei a pherued ac eithaf
a dixed. collwyd beriussit eiyf ac (^ dv)arygryt. gvy
ros gvyn y byt. taiv trin teyrn byt. moravt a
?yoryt. ffawydd ffynyessit. kelyn glessyssit bu ef
ygvrhyt. yspydat amnat. heint ech yaghat.
gvmwydd gortho(^r)at. gorthoryssit ygat. redyn
anreithat. banadyl rac bragat yn rychua bu
wat. eithin ni bu bat. yr hynny guerinat.
bruc budyd amnat. dywerin suynat. hydguyr
erlynyat. Derv buanavr. racdav crynei nef all
aur. G?elyn glev drussyaur y env ym peullavr. daf
uswyd kygves kymrav arodes. Gurthod? gvrth
odes eraill o tylles. Per gorev gormes ym plym
lvyt maes. gorvthavt kuwyd aches beilon
wyd. kastan kewilyd gvrthryat fenwyd. han/
tit du muchyd. handit crvm mynyd. handit
kyl coetdyd. handit kynt myr mavr. erpan
giglev yr avr. andeilas blaen bedv. an datrith
datedv. an masglas blaen derv o warchan ma
elderv. wherthmavc tu creic. ner nyt ystereic.
Nyt o vam athat pan ymdigonat. am creu
am creat. o naw rith llafanat. o ffrvyth offrvy
thev. offrvyth duv dechrev. o briallu a blodeu
bre. o blavt gvydau a godeu. o prid o pridret y.
pan ymdigonet. o blaut danat o dvfyr ton nav
uet. am svynvys i vath. kyn bum dia(^c)vet.
__________________________________

26

am svynvys i wytyon mavnut o brython. o
eurwys o euron. o euron o vodron o pymp
pumhvnt kelvydon. arthavon eil math pam
ymdygyaed. amfvynvys i wledic. pan bei
letloscedic. amfvynvys sywyddon sywytkyn
byt. pan bei genhyf y bot pan bei benit byt.
hard bard bud an gnaut arwavt ytuedaf atra
etho tauavt. Gvaryeif yn llychvr. kysceis i
ymporffor. neu bum yn yscor gan dylan eil
mor. ygkylchet ym perved rvg deulin teyrrned.
yndeu wayv anchwant o nef pan doethant.
yn annvyfyn llifereint vrth urvydrin dybyd
ant petwar vgeint cant. agveint yr eu whant.
nyt ynt hyn nyt ynt ieu no mi yn eu bareu.
aryal canhvr agem(?) pavb anav cant oed gen/
hyf inheu. yg cledyf brith gvaet bri am dir/
wed o douyd o golo lle yd oed. o dof yt las baed.
ef gvrith ef datwrith. ef gvrith ieithoed. llach/
ar y env llavffer. lluch llywen nifer. ysceinynt
yn usel. o dof yn uchel. bvm neidyrbreith y
mryn. bvm gviber yn llyn. bum ser gan gyn/
byn. bum bvystuer hyn. vygcassul am kavc
arma af nyt yn drvc. petwar ugeint mvc ar
pavb adydvc. pymp pemhnvnt aghell aymtal
am kyllell. whech march melyn a ell. canweth yssyd well. vy march melyn gan kyfret agvy
____________________________________

27
lan. mihun nyt eban. kyfrvg mor aglan. neu
gorvyf gvaethan. arnav cant kynran. rud em
vyg kythvy. eur vy yscvytrvy. ny ganet ynadvy
axx ym gowy namyn goronvy o dolev edryyy?.
hir wynn vy myssavr. pell na bum henssavr.
treiglais ymyvn llavr kyn bum lle enavr. Trei/
gleis kylchyneis kysceis cant ynys. cant
caer athrugys. derwydon doethur. darogenvth
y arthur. yssit yssyd gynt. neur uu ergenhynt.
acvn aderyv o ystyr dilyv. achrist ycvoccav. a dyd
bravt raclav. eurem yn euryll. mi hudvyf berth/
yll ac vydyf drythyll o orymes fferyll.

madness, rattleskull and old flute tunes

2006-03-20T12:14:00.000Z

john clare was a contemporary of mad ned; edward williams, iorwerth, or iolo morgannwg (as well as robert burns and other radicals who spent time in london and elsewhere).

he was an opium* user, like iolo, and also a flute* player, like iolo. (* my mistake - see comments) they both collected folk tunes from their respective areas (northamptonshire and glamorganshire) and were among the first to do so. it is also noteworthy that they belonged to the social class from whom they were collecting, unlike other, later, tune collectors or the earlier music publishers

the enclosing of fields was particulary distressing for clare who ended up in an asylum but the symbolism of the enclosures must also have affected other neo classicists and romantics in their artistic perception as well as in the making of their art. iolo, the great neo classicist, has been dismissed by some as a mere forger and clare as simply being not very good and mad to boot

in hilly-wood. john clare

how sweet to be thus nestling deep in boughs,
upon an ashen stoven pillowing me;
faintly are heard the ploughmen at their ploughs,
but not an eye can find its way to see.
the sunbeams scarce molest me with a smile,
so thick the leafy armies gather round;
and where they do, the breeze blows cool the while,
their leafy shadows dancing on the ground.
full many a flower, too, wishing to be seen,
perks up its head the hiding grass between.-
in mid-wood silence, thus, how sweet to be;
where all the noises, that on peace intrude,
come from the chittering cricket, bird, and bee,
whose songs have charms to sweeten solitude.

pennill gan iolo morgannwg

canu ddwyf a bod yn llawen
fel yr eos ar y ddraenen
bod y draenen yn fy mhigo
canu ddwyf a gatel iddo

here is a tune collected by clare. it is known in wales as, variously, mopsi don, obsidion, upside down

X: 25
T:Welsh Jigg. JC.025
M:6/8
L:1/8
Q:240
S:John Clare,Poet,Helpston. (1793-1864)
R:Jig
O:England
A:Northamptonshire
N:
Z:vmp.P. Headford
K:Bb
ABcc2d|c2B cAF|BcB ded|BcB ded|!
ABcc2d|c2B A2A|Bcde2d|cBAB3:||:!
fdf ece|dBd cAF|B2B dcB|A2Bc3|!
fdf ece|dBd cAF|dcB gfe|decB3:||

llwyn onn

2006-03-11T19:22:00.000Z

wedi cael y pleser rhyfedda yn whare fersiwn mixolydian o'r alaw hon wthnos yma unwaith eto.
node abc wedi'u casglu o'r wahannol casgliade ar y we

X:1
T:Cease Your Funning [1]
L:1/8
M:6/8
S:Sharp – English Folk-Song (1907)
N:There have been some claims that “Cease Your Funning” was derived (‘stolen’) from the Welsh tune “The Ash Grove,” despite the fact that the latter first appeared in print in the Bardic Museum of 1802. As above, it clearly derives from “Constant Billy,” and the claim for Welsh provenance has no merit, according to Kidson (Groves). Chappell (Popular Music of the Olden Time), Vol. 2, 1859; pgs. 119?120. Raven (English Country Dance Tunes), 1984; pg. 61. Sharp (English Folk-Song), 1907; pg. 113.
AKA and see "Lofty Mountains," "Constant Billy." English, Air (6/8 time). The song appears in John Gay's Beggar's Opera (1729) and The Fashionable Lady (1730). Chappell reminds us that the tune is, as are all the tunes in Gay's famous work, older than the opera. Kidson (1922) dates the tune to the late 17th century where he finds it on half?sheet music attached to the song "Constant Billy." In fact, the air appears as "Constant Billy" in the third volume of Playford's Dancing Master. Sharp (1907) explores the relationship between “Constant Billy” and “Cease Your Funning,” and points out that Gay was not a musician himself and employed the services of a German, Pepusch, by name, to note down and arrange the airs which Gay sang to him. “It needs but a cursory examination of this opera to see that the airs are anything but faithful transcriptions of genuine peasant-tunes…” and concludes that Gay or Pepusch, or both, were guilty of alterations or ‘improvements.’ “The rhythm of the fine old melody ‘Constant Billy’ is changed that it might fit the metre of the new words of ‘Cease Your Funning’, and the tune adorned with a dominant modulation at the middle cadence.”
Z:AK/Fiddler’s Companion
K:B
B2f dB2|e2c AF2|d2B GE2|cFA B3|B2f dB2|e2c AF2|d2B GEG|cFA B3:|
||B2b b2f|B2g g2e|A2f fBA|Gf =e f3|B2f dB2|e2c AF2|d2B GEG|cFA B3||

X:2
T:Constant Billy
M:6/8
L:1/8
S:Adderbury
K:A
E|A2e cBA F2E|1 EFG A2:|2 EFG A3||cde f3|
Bcd e3|cde f3|Bcd e2 (3e/f/g/|a2e cBA F2E|EFG A2||

X:1
T:Ash Grove
R:Waltz
C:Trad.
M:3/4
N: The untitled tune for John Gay's "Cease your funning" in 'The Beggar's Opera', 1728, is "Constant Billy" in vol. III of 'The Dancing Master', 2nd edit., c 1726. However, it is in Eb lydian, rather than G major. Welsh title, Llwyn Onn. Tune first published in Edward Jonesís "The Bardic Museum", 1802. With words, in Bardd Alawís "Welsh Melodies with appropriate English Words", 1809.Much later, patriotic words were written by the poet Talhaiarn (1810-1869), "Gogoniant i Gymru", literally "Glory to Wales", translated by the poet himself as "All hail to thee, Cambria, the land of my fathers". The tune maybe lends itself to poignant words, although as always parodies have appeared,e.g. [in the West of Scotland] "In yonder green valley there lived a wee Tally, and the hair on her dicky-di-do hung down to her knee" or so. ("Tally" = "Italian", a common slang term, quite affectionate; a "tally shop" is one typically kept by Italians, such as one selling fish and chips, ice cream, etc.). The tune just appeared out of the blue, and its origin is unknown, though a connection has been made with an 18th-century tune, "Cease Your Funning", which likewise appeared out of nowhere in "The Beggarís Opera" of 1728. "Llwyn Onn" has always been a favourite song with penillion singers.
The air is considered by some to be an early 18th century melody from Wales, perhaps because it is attributed to that country in Gow’s Strathspey Reels (book 4, pg. 24), where it appears as "Sir Watkin William Wynn." In fact the earliest Welsh printing is not until Jones’s Bardic Museum (1802), where it is given that it was named after ‘Mr. Jones’s mansion near Wrexham’. It appears under different guises in period publications and can be found in Gay’s Beggar’s Opera (1729) and in the repertoire of Irish harper Turlough O’Carolan (1670-1738). “The Ash Grove” was used as a vehicle for English morris dancing, and various words were set to it, bawdy and otherwise. One set begins:
L:1/8
K:D
|:"A"A|"D"d2f2ag|f2d2d2|"G"e2gfed|"A"c2A2A2|"D"d2fedc|"G"B2G2B2|"D"A2d2"
A"c2|"D"d4:||:efg||"D"a2fgab|a2g2f2|"A7"g2efga|g2f2e2|"D"f2defg|"Bm"f2e2
d2|"A"c2a2^"E"g2|"A"a4A|"D"d2f2ag|f2d2d2|"G"e2gfed|"A"c2A2A2|"D"d2fedc|"
G"B2G2B2|"D"A2d2"A"c2|"D"d4:||