How to Play the Celtic Harp

Revised & Updated 12/16/97

LOCKSLEY'S E - Z HARP METHOD or: Eire and Back Again

by Joe Bethancourt

A Means of Familiarization with the Medieval Celtic Harp Designed For the Musically Illiterate.

© copyright 1976, 1989, 1990, 1996, 1997 W.J.Bethancourt III

First published in 1976 by White Tree Publications

Dedicated to Ted Myrick, and to Diana Paxton and my sweet Lady Wife, Cherie Ruadh, With thanks to Richard Felix, Alexander Platt, and Ed (the Wonder Horse) Hirt.

Counter Activated 01/25/98

REVISED EDITION 1996 CE

All Rights Reserved to the Author: Post No Bills This Means You!

White Tree Productions PO Box 35190 Phoenix-AZ-85069

TABLE OF CONTENTS � General Introduction � A short history of the Celtic Harp.......................Pg. 1 � The parts of the Harp........................................Pg. 2 � Types of Irish Harp...........................................Pg. 3 � Chords, tuning and other exotic stuff...............Pg. 3 � Tuning............................................................Pg. 4

Page 1 of 12Locksley's EZ Harp Method

11/30/2003http://www.illusions.com/rowanhold/ezharp.htm

� Sharping levers................................................Pg. 5 � Harp tablature.......................................................Pg. 6 � Construction of chords.................................Pg. 6 � The Modes, and I don't mean ice cream.........Pg. 7 � Minor scales..................................................Pg. 8 � Faked chords...................................................Pg. 9 � Playing where you're not supposed to...............Pg. 9 � The sub-tonic..................................................Pg. 10 � The mechanics of playing..............................Pg. 10 � Playing the silly thing....................................Pg. 11 � Shakes, rattles, and rolls.................................Pg. 11 � Harmonies and such like..............................Pg. 12 � Fancy stuff.............................................................Pg. 12 � Period licks and footstompers.............................Pg. 13 � Graces..........................................................Pg. 13 � Shakes and so forth..........................................Pg. 14 � Double tones, chords and such.......................Pg. 15 � Harp makers...................................................Pg. 16 � Where to buy harp cases....................................Pg. 17 � Retail outlets for harps.......................................Pg. 17 � Books, records and written music.........................Pg. 18 � Good books to have...........................................Pg. 18 � Recordings......................................................Pg. 19 � A glossary of musical terms................................Pg. 20 � Irish gaelic terms for harp music..........................Pg. 21 � On Bards, and Bardic circles...............................Pg. 21 � On music, and songwriting...................................Pg. 23 � On Bardic circles................................................Pg. 23 � Suggested College level courses.....................Pg. 23 � Ogham...............................................................Pg. 24 � Good Links On The Net................................Pg. 25

GENERAL:

This text is meant as an INTRODUCTION to Celtic Harp. It is not meant to teach everything there is to know about harps, harpers and harping, but simply to get you started in the right direction with a minimum of fuss and bother.

I strongly suggest that you buy every other book on playing Celtic/Irish harp that you can find, and use this in conjunction with them. The more information you can get, the better off you are.

If you already play the Concert Harp, then most of this information will be old stuff. Read it anyway. The Irish Harp is most emphatically NOT the same instrument as the Concert Harp, and is approached, and played, quite differently. Most of the texts I have seen on "Irish" Harp don't approach it from the angle of pre-medieval and medieval period styles and techniques.

A SHORT HISTORY OF THE CELTIC HARP

Where, or when, the Celtic harp had its' origins we are not really sure. The concept of "harp" goes all the way back into pre- history, being an obvious development from the primitive mouth-bow, but when it came to Ireland, there developed a unique musical instrument that was accorded the kind of reverence usually reserved



for swords, in pre-medieval and medieval times.

The earliest written mention of the Harp per se is found in the Utrecht Psalter, a Carolingian Ms. written circa 816 CE. There are carvings on stone crosses in Ireland, also, that date from the same period, and we can infer from this that the Celtic Harp, in its' present form, must date from at least 800 CE, and probably earlier.

The Irish Triads tell us more information about how the Harp was regarded in the Early Medieval period (ca. 920 CE):

Three things that are essential to a Lord:

A Harp, A Cloak and A Chessboard.

Three things necessary for happiness:

A faithful Wife, a well-padded Chair, and a Harp well-tuned.

The double-strung Welsh Harp was apparently developed in the 14th Century, with an extra row of strings to give the sharps and flats. This design spread to Italy in the 15th Century, becoming known as the "arpia doppia," or Double Harp. The Germans called it "Doppelharpf."

The triple-harp, with three rows of strings, was developed in Wales sometime at the end of the 17th Century, and is thus out-of- period with our concerns.

This author regards the double and triple harps as a interesting concept, but more in the line of a "solution in search of a problem."

Next, we must define just what a Celtic Harp is.....the true Celtic, or Irish, Harp is a massively constructed harp, with a soundbox very much wider at the bottom than the top, and strung with wire strings. The top-arm is connected to the top of the sound-box in the center of the top, thereby angling the treble strings, and requiring the harp to be held on the LEFT shoulder, the bass being played with the right hand and the treble with the left.

The Neo-Celtic harp is similar, but more lightly constructed with not so trapezoidal a soundbox, sometimes rounded off in back like a modern concert harp, and uses gut or nylon strings. The top-arm is offset at the sound-box, and therefore is usually played with the harp on the RIGHT shoulder, the left hand playing the bass with the right hand playing the treble.....the reverse of the true Celtic Harp. It's OK to play them on the left shoulder, however...but be ready for sharp looks from modern harpists.

The Neo-Celtic harp is a modern development, dating from about 1900 CE, when, among others, Lyon & Healy made some real jewels! (If you ever find one of these, GRAB IT!)

The Continental Harp (used during the Middle Ages and Renaissance) has a soundbox that is very thin, with equal dimensions at the top and bottom, and uses gut or nylon strings. This instrument is played, like a modern concert harp,"backwards" from the Celtic harp; it is held on the RIGHT shoulder, and the hands are reversed. These harps tend to have a very thin tone, but are rather delightful in their own right.

Note, however, that if the top-arm of a Continental Harp is centered on the top of the soundbox, then it should be held on the left shoulder like a true Celtic harp.

The true Irish Harp does not use "sharping levers," while the Neo-Celtic Harps, even though those levers were developed after the Renaissance, sometimes do. There are occasionally small "hooks" for sharping found on



some Continental harps, where the string is lifted onto the hook to sharp the tone.

By the way, a player of the Celtic Harp is known as a "Harper," while a player of the Concert Harp is known as a "Harpist." Now that we have that out of the way.......

The harp is tuned in a simple scale from "C," i.e. "do-re-mi- fa-sol-la-ti-do." This is called a "diatonic" tuning, or "Ionian" mode. Notice that there are no sharps or flats in this scale. This means that you may play in the key of "C"...the white keys on a piano....but not in any others, unless you re-tune.

By the way, if you do not own a harp (oh, poor soul!) then you can mess around with this text using ONLY the white keys on a piano, to at least familiarize yourself with what's going on.

In order to play in other keys, you must either alter your fingering pattern, known as "cross-harp," or you must re-tune the harp. This is NOT as hard as it sounds, and will be covered later.

In view of the fact that the ancient harpers didn't particularly bother with written music, this text will seek to teach the minimum of music and the maximum of how-to-play. After learning the playing techniques, you should be able to puzzle out notation with the help of a modern book of music theory.

There is, however, quite a lot of music theory that must needs be discussed in order that the Harp be fully understood. Take your time, take it slowly, and understanding will come.

In the list of books at the end of this exposition you will find a treatise on Ogham listed that makes a good case for the use of the Ogham alphabet as a form of written music. I refer you to this as an Interesting Thing.

THE PARTS OF THE HARP

:

� Aufhoirshnadhaim*: the string pegs. � Com: the belly, or soundboard; the face of the soundbox. (Where the strings attach to the body) � Corr: the top-arm, or harmonic curve; where the tuning pegs are attached. � Crann Gleasta: the tuning key, or hammer � Cruin Cruit: the shoes of the strings. � Goloca: treble strings � Lamhchrann: the forepillar. � Trom-Theda: bass strings � Uinaidhin ceangal*: tuning pins.

note: gaelic name followed by * may be incorrect.

TYPES OF IRISH HARP

:

� Ceirnin: a small harp used by priests � Cinnard-Cruit: the high-headed harp � Clairseach: "little flat thing;" the common harp � Crom-Cruit: the "down-bending" harp � Cruit: harp � Telyn: harp (Welsh, Cornish, and Breton)



CHORDS, TUNING AND OTHER EXOTIC STUFF:

Now we need to talk about chords. A chord is simply two or more tones played at the same time, that harmonize with each other.

Certain chords, played in certain patterns, at specified rythmical speeds and intervals, enable you to accompany a melody.

Chords can be classified into GENERIC names:

I II III IV V VI VII denoting MAJOR chords

i ii iii iv v vi vii denoting MINOR chords

Thus, using the generic names, we can construct a chord chart, which will enable the TRANSPOSITION of chords, i.e. changing keys, with ease: --------------------------------------------------------- I II III IV V VI VII --------------------------------------------------------- C D E F G A B flat D E F sharp G A B C E F sharp G sharp A B C sharp D F G A B flat C D E flat G A B C D E F A B C sharp D E F sharp G B C sharp D sharp E F sharp G sharp A ---------------------------------------------------------

Notice the sharps and flats in there. These are caused by the fact that the modern musical scale is arranged in WHOLE TONES (the Ionian mode) and HALF TONES (sharps and flats). Look at a piano keyboard. The BLACK keys are the sharps and flats. We put a sharp/flat between every whole tone EXCEPT between B - C and E - F. Don't ask me why we do it this way....we just do. Everything comes out even that way. Don't worry about it. And, by the way, a tone may be either sharp, or flat, depending on how you're looking at it....F sharp is the same as G flat, for our purposes, for example.

More about Tuning

These chords are called: ----------------------------------------------- I - "tonic" or key chord IV - "sub-dominant" V - "dominant" vi - "relative minor" of I -----------------------------------------------

NB: These names have no relationship to what they might do in the privacy of their own birdbath, however..... In most songs, the chords most often used are the "I - IV - V" progression. In the older, "Child Ballad" sort of thing, the use of "VII - I" is common. Songs in minor keys tend to use "i - iv - V" a lot. Try to listen for these



"changes" when you listen to songs. Don't worry about what key it's in, just hear the changes and think of them by their generic names. This will enable you to play anything, eventually, just by finding the tonic chord and going from there. This takes practice, and experience. With enough experience, you will be able to "hear ahead" in the song; you will know what chord is likely to be coming next!

TUNING

:

The Celtic harp, and most harps, for that matter, are tuned to the Ionian mode, that is, the "C" scale. This enables playing in the key of "C". If you want to play in other keys, however, you must retune one or more tones of the scale. ----------------------------------------------------------------------

C scale: do - re - mi - fa - sol - la - ti - do C - D - E - F - G - A - B - C

D scale: re - mi - fa (sharp)- sol - la - ti - do (sharp) - re D - E - F sharp - G - A - B - C sharp - D

E scale: mi -fa (sharp)-sol (sharp)-la-ti-do (sharp)-re (sharp)-mi E -F sharp - G sharp - A -B -C sharp - D sharp - E

F scale: fa - sol - la - ti (flat) - do - re - mi - fa F - G - A - B flat - C - D - E - F

G scale: sol - la - ti - do - re - mi - fa (sharp) - sol G - A - B - C - D - E - F sharp - G

A scale: la- ti- do (sharp)- re-mi- fa (sharp)-sol (sharp)- la A - B - C sharp - D - E - F sharp - G sharp - A

B scale: ti-do (sharp)-re (sharp)- mi-fa (sharp)-sol (sharp)-la (sharp)-ti B -C sharp - D sharp - E -F sharp - G sharp - A sharp - B

B flat scale: ti (flat)-do - re - mi (flat)-fa - sol - la - ti (flat) B flat - C - D - E flat - F - G - A - B flat

Therefore, to change from a "C" scale to a "G" scale, we take the fourth tone of the "C" scale and sharp it (raise it one-half tone), and take our key-tone from the fifth tone of the "C" scale, "G," rather than the first, that is, "C."

The above system of listing scales may seem a bit clumsy. I am trying to show (by sharps, mostly, since Celtic harps tend to retune by sharping the tones) how the various modern scales work....in relation to the modes below.

If you are playing with a fiddler, he will tend to play in "D" or "A." Guitarists tend to play in "C," "D," and "G," as a rule.

SHARPING LEVERS:

Some nylon strung harps have little levers that enable you raise the pitch of a given string one-half tone; to sharp it. These were apparently developed in Germany about the end of the 17th Century....they are NOT used on the traditional Celtic Harp.

If you have a harp that is set up this way, you must tune it slightly differently than a "normal" harp:

Set the sharping lever UP, or ON, on the 7th string ("B") of each octave, and then tune the harp into "C." You now may play in "C" with no trouble, and, if you turn your "B" levers OFF, to "B flat," you will wind up



playing in "F." Doing this enables you to play in the following keys:

� F major ( D minor): all "B" levers OFF � C major (A minor): all "B" levers ON � G major (E minor): all "F" and "B" levers ON � D major : all "B," "F," and "C" levers ON � A major : all "B," "F," "C," and "G" levers ON � E major : all "B," "F," "C," "G," and "D" levers ON � B major : all "B," "F," "C," "G," "D," and "A" levers ON

and if you tune your harp to E flat, you can add the keys of B flat and E flat.....don't do that yet, though; wait until you are familiar with the above.

Why are we talking about all this? Simple: This is basic Music Theory, and will, hopefully, enable you to understand what comes next.....how to make the chords, on a harp, in ANY key!

Go have a drink.

HARP TABLATURE:

I have developed a form of Harp Tablature; a means of writing the tones in a numerical form, that does not depend on the key signature.

The first tone of each scale, the key-tone, is numbered as "1," the second is "2" and so forth. The LAST tone of any scale, the tone one octave higher than the key-tone, is numbered "1a," while tones LOWER than the key tone are numbered "1A" and so forth. Thus, the tones of a 27 string harp might be numbered:

lowest low middle high highest

5B-6B-7B-1A-2A-3A-4A-5A-6A-7A-1-2-3-4-5-6-7-1a-2a-3a-4a-5a-6a-7a-1b-2b-3b

Got that? In other words, this particular harp is tuned, in "C":

sol-la-ti-do-re-mi-fa-sol-la-ti-do-re-mi-fa-sol-la-ti-do-re-mi-fa- ect.

It is customary for harpstrings to be marked for quick identification by colouring the "C" string red and the "F" string black or blue. This makes knowing your place a LOT easier!

CONSTRUCTION OF CHORDS:

Therefore.....in order to build chords in any key, you just use the numbers of the strings in that scale. Remember: the "1" string/tone is the key-tone of that scale. When "1" is "C," or "do," then you're in the key of "C." When your "1" string is "G," or "sol," you're in the key of "G."

Thus: ------------------------------------------------- I chord: 1-3-5; 1a-3a-5a; 3-5-1a; 5A-1-3; etc. ii chord: 2-4-6; 4-6-2a; etc. iii chord: 3-5-7; 5-7-3a; etc.



IV chord: 4-6-7a; 4a-6a-7b; 6-7a-4a; 7A-4-6; etc V chord: 5-7-2a; 2-4-5 etc. vi chord: 6-1a-3a; 1-3-6; etc. vii dim. chord: 7-2a-4a Do you see the pattern of the fingering? Look at the first numbers/tones given for each chord! This is NOT quite the same as on a piano! -------------------------------------------------

Remember, the way it works is simple. Let us take a chord from the above table and assume the harp is tuned in "C." Thus, to play the I chord of that key, you would pluck the "1-3-5" relationship, that is, the first, third and fifth strings in each octave. This gives you a "C" chord, made up of the tones "do," "mi," and "sol."

Then, if we retune the harp to, say, the key of "F," lowering "ti" to "ti flat," we still finger the first, third and fifth strings of the octave to get our I chord in that key, but, as the octave in this key begins, not on "do" as it does in the key of "C," but rather on "fa," the I chord is therefore composed of the tones "fa," "la," and "do," which gives us the "F" chord in this key.

I realize that this is probably completely confusing if this is your first attempt at playing a musical instrument. Keep thinking about it, and remember that "learning by doing" is the best way to learn.

Especially because we now must get into a very strange thing, to modern ears......

THE MODES, AND I DON'T MEAN ICE CREAM:

Now let's talk about period musical styles. Brace yourself! In the Middle Ages, there was no real concept of sharps and flats. Everything was done in "modes," or "modal" forms. This concept takes any major scale, and converts it to, essentially, six different "keys"...sort of.

The MODES are: (illustrated in "C" scale)

� IONIAN: a simple major scale: C-D-E-F-G-A-B-C (do-re-mi-fa-sol-la-ti-do) � DORIAN: the most commonly used: D-E-F-G-A-B-C-D (re-mi-fa-sol-la-ti-do-re) � PHRYGIAN: E-F-G-A-B-C-D-E (mi-fa-sol-la-ti-do-re-mi) � LYDIAN: F-G-A-B-C-D-E-F (fa-sol-la-ti-do-re-mi-fa) � MIXOLYDIAN: G-A-B-C-D-E-F-G (sol-la-ti-do-re-mi-fa-sol) � AEOLIAN: the "natural minor" scale: A-B-C-D-E-F-G-A (la-ti-do-re-mi-fa-sol-la) � The LOCHRIAN, from "B" to "B," was never used in the Middle Ages, so it need not really concern us.

NOTICE that these scales use NO sharps or flats. When a scale uses no sharps or flats, it is a "modal scale." Remember: in the Middle Ages, the concept of sharps/flats was not well understood, so these modal scales were used in ALL keys, without worrying about the sharp/flat concept ..... in other words, you can have a tune in "G Dorian," i.e. the actual tones used would be A - B - C - D - E - F sharp - G - A but it would be conceived as simply "re-mi-fa-sol-la-ti-do-re" beginning on "A." This is a difficult concept to grasp, if most of the music you have heard has been modern popular music. Listen to Steeleye Span's recording of "King Henry" for a good example of Dorian Mode.



All of the above modes have "cousin" modes, called "Hypo- (Dorian, Aeolian, Mixolydian &c)" when, rather than the scale beginning on the lowest tone (as the key-tone) the key-tone is the fourth tone of the scale. These modes are known as "plagal" modes, and if you wish to know more about them, take a course in Music Theory....but, FYI:

The PLAGAL MODES are:

� HYPOIONIAN: G-A-B-C-D-E-F-G (key-tone is "C") � HYPODORIAN: A-B-C-D-E-F-G-A (key-tone is "D") � HYPOPHRYGIAN: B-C-D-E-F-G-A-B (key-tone is "E") � HYPOLYDIAN: C-D-E-F-G-A-B-C (key-tone is "F") � HYPOMIXOLYDIAN: D-E-F-G-A-B-C-D (key-tone is "G") � HYPOAEOLIAN: E-F-G-A-B-C-D-E (key-tone is "A") � The HYPOLOCHRIAN ("F" to "F" with "B" as the key-tone) was never used in the Middle Ages, either.

It is also interesting to note that the IONIAN and AEOLIAN modes, and their plagal counterparts, were formally recognized at a quite late date, that is in 1547 by Glareanus in his treatise "Dodekachordon," while the others were supposedly established by St. Ambrose, with St. Gregory adding the corresponding plagals...hence, "Gregorian" chant.

Welsh and Irish music, however, made great use of the Ionian since before recorded history (we assume from the old songs remaining, like "Men of Harlech" and "Londonderry Air.")

Just in passing, the harmonies that are three tones apart, the "third" harmonies, were considered "lascivious" by the Church until the 16th century, and thus were frowned upon. The full chord as we now understand it, the combination of root, third and fifth, was regarded the same way. The Welsh and Irish seem to have used them merrily anyway, which figures.

There is also another facet of period music that needs to be mentioned, too, and that is the fact that the tones of the scale used in the Middle Ages and Renaissance were NOT QUITE THE SAME as the ones we use now......

You see, in the mid-1700's CE, it was realized that some tones that should have harmonized actually did not; they created a dis- harmony known as a "wolf tone;" a rattling, beating, wobbly sort of sound that messed up the prettiness of the harmonies.

The reason behind this was that the tones of the scale were not "evenly" spaced; they weren't equidistant from each other in terms of vibrations per second.

To solve this, the whole scale was revised, and we got the modern "tempered" scale, which has evened out the scale, in order to eliminate the wolf tones.

The original scales did *not* have even spacing between the notes as it was based on the natural harmonic series. It was people like Bach who wanted to be able to transpose freely on a single instrument that tempered the scale by *evening* out the distance between the notes so that every half-step was the same as every other half-step (hence the "Well Tempered Clavier," a pair of books of preludes and fugues in every key, now able to be played without retuning the clavier between each piece). This is the scale we use today.

In addition, the tone "A" was arbitarily set at 440 vibrations per second, in order that all musicians could tune to each other with a minimum of difficulty. This is why it is not really vital for you to tune precisely to "Concert Pitch" ("A - 440") but rather to the right pitch for the individual harp, unless you are playing with someone



else.

Experiment with the Old Scale, if you wish. It is most interesting! If you are wondering what the Old Scale sounds like, listen to Highland bagpipes for a good example of Old Scale Mixolydian mode.

At this point, O Reader, you probably need another drink, so go get one.

Here is more information about modal scales

MINOR SCALES:

Let us now pass to the MINOR scales and keys. You can play in the Aeolian mode, the "natural" minor, by fingering your I chord (if the harp is tuned to the Ionian mode/"C" scale) beginning on the "la" string.

This chord is an "A minor" chord, the relative minor of "C," the key to which the harp is tuned. The IV chord is fingered with the first tone of the scale being "la," thus making it minor, also. Notice it is three half-tones down from the major root.

Play around with finding the V chord....I'm not giving away everything!

By tuning to the proper scale, the relative major of the minor key you wish to play in, you can get almost any minor key with little difficulty. (i.e. as "C" is the relative major of "Am," so "G" is the relative major of "Em," and so forth.

FAKED CHORDS:

Many chords can be "faked" by playing only two tones of the usual three. As long as you have the "root" tone, you're OK. Simply build the chord with a "root - fifth" or "root - third" relationship, and the subsequent sound will tide you over....this works well when the third tone, or the fifth, of a chord is a sharp/flat that the harp is not tuned for.

You may also play what are called "passing" chords. These are chords that fill in the gaps between the I - IV - V chords (or whatever), and fill out the accompaniment of a song. Just play a few tones of the next chord with your beginning chord, and sort of slide over into each chord that way, rather than jumping suddenly from chord to chord. Sounds nice.

Here is an example of the use of passing chords:

1-3-5; 1-3-6; 2-4-6; 2-5-7.

PLAYING WHERE YOU'RE NOT SUPPOSED TO:

"Cross" harp is a bizarre thing. In some circumstances that you should learn to avoid, unless you do it deliberately, you may have to play in another ken than the one you are tuned to....say, you wish to modulate (change key) to save your dry and cracking voice, and you don't want to stop the song to retune.....well....you can go to the IV chord and make it into the new I chord, with the old I chord becoming the new V chord, but you'll wind up faking the new IV chord, because it's not there completely. Good luck; you'll need it....but if you can pull this off convincingly you are well on your way towards mastering the instrument!

For example: if we are playing in the key of "C" using our I- IV-V arrangement ( the names of these chords are C - F - G ) and we wish to modulate into the key of "F," our I-IV-V relationship then becomes, in actual chords, F - B flat - C.



But there's no way on this green Earth that we can play all three tones of that "B flat" chord without re-tuning, so..........we play the "F" chord as our I chord, but: WE FINGER IT AS IF WE WERE PLAYING IN THE KEY OF "C." The fingering pattern does NOT change, as the harp is still tuned in "C."

Cross harp "F": 4 - 6 - 1a

In the same manner, we play the V chord, "C." Cross harp "C": 1 - 3 - 5

But the "B flat" becomes a faked chord, thusly: Cross harp "B flat": 4 - 2 - 4a

This works in a similar manner with the other keys/tunings, and is quite fascinating to play around with. Experiment!

THE SUB-TONIC

:

Much of Irish/Scots music uses a chord relationship called the "sub-tonic." This is common in modal music as a chordal accompaniment pattern, and is fun to mess with.

It is the relationship between the V chord and the IV chord, and is quite an eerie sound indeed. The aforementioned "King Henry" song uses this.

The sub-tonic of "G" is "F," the sub-tonic of "D" is "C," and so forth. In order to play a sub-tonic relationship, we must utilize cross-harp techniques....to play in "G" with the sub-tonic "F" we must tune the harp in "C," and play "G" and "F" in normal IV and V patterns. Tuning to other keys gives you other sub-tonic possibilities, such as tuning to "G" for the "C" and "D" relationship.

Try to create harmonies that are four and/or five tones apart. These are called "fourths" and "fifths," and are the basis for Gregorian Chant... and work VERY well with a sub-tonic relationship, in a modal scale.

By the way: the sub-tonic occurs naturally in the Dorian, Mixolydian and Aeolian modes as a major chord, and in the Phrygian as a minor chord.

*

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��

© Copyright 1976, 1989, 1990, 1996, 1997 W. J. Bethancourt IIIAll Rights Reserved



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PART TWO: THE MECHANICS OF PLAYING First of all, I must talk about something that is VITAL to playing any musical instrument: PRACTICE.

We all practice: novice, gifted amateur, professional, all of us.

The reason we do is very seldom explained....but here's why: in playing a musical instrument we are using sets of muscles to do specialized motions. These motions, in order to be effective, must be unconcious...like the muscles, and skills, used in walking, or riding a bicycle, or breathing... and these muscles are controlled by our hind-brain, the cerebellum. This is a very stupid brain. It CANNOT learn by reading, nor by listening. It can ONLY learn by doing; by repetition of the physical moves until it finally has them "hard- wired" in place. We must conciously repeat these moves until they become unconcious...until we can, literally, do them while asleep.

This is why you must practice. Practice while reading a book. Practice while eating. Practice as much as you can, when you can, where you can! Practice ALL of these patterns and movements everyday until your HANDS have learned them. Then practice them some more, to keep them smooth.

If you become frustrated, STOP! Put the harp down, relax a while, and then go back to it. Don't give up!

A Harp is Magic. It's gentle, sweet sound will give you more joy than I can express in words here.........don't fight it, go INTO the music, and let your hands go of themselves.

Take it gently. Take it smoothly. Take it in peacefulness. But..... TAKE IT! DO IT! LEARN IT!

When you DREAM that you are playing the harp, and you KNOW that your fingers are moving correctly; when you can move your fingers in a pattern and HEAR the tones that pattern will play, with NO harp in your hand at all, then you are beginning to be a Harper.

But don't get complacent. You MUST keep in practice! Your body will never forget these moves, but, without practice they will become rough, and slow, over time.

Does your harp have a name? Listen to the harp, and it may tell you! Some harps have a great, loud voice and ego, and are easily heard. Others take a while, and need to "get to know you." Take your time, and listen for your Harp's Name.

PLAYING THE SILLY THING

:

The standard playing position for the Irish Harp is sitting down on a stool, or in a chair, placing the harp on the inside of your LEFT leg, with the RIGHT leg acting as a support, or, if it is a lap- harp, placing it on the LEFT thigh, with the RIGHT thigh acting as extra support, and resting the harp on your LEFT shoulder. If you must sit on the ground or the floor, place the box where it's comfortable, but always rest it on your left shoulder. The Harp is constructed to be held this way, as opposed to modern harps, which are held on the right shoulder.

Keep the harp in place with your forearms..lightly, so your hands can reach all the strings by sliding your arm


11/30/2003http://www.illusions.com/rowanhold/ezharp2.htm?

down the body of the harp. Keep your elbows down. This is different than modern harp technique.

With the Harp on your left shoulder, the right hand plays the bass tones, and the left hand plays the treble....usually. Sometimes your hands will need to cross over, for certain runs and effects. Feel free to do this.

The only fingers you will need to play the harp are the thumb, first and third fingers of each hand. Other fingers may be used for special effects, as you find needful and comfortable. Remember that the advanced techniques will use more fingers than this, though.

NB: Try to keep the idea in circulation that you can't play a harp and fondle the nearest wench (or that cute young man, Ladies...) at the same time; not strictly true, of course, and it makes the fondling that much easier....

Keep your fingers at something close to a right angle to the strings. You will be playing with your fingertips. This is also different than modern harp technique. PLUCK nylon firmly; CARESS wire strings gently.

PRACTICE simply holding your harp, and placing your fingers at the correct angle to the strings. Slide your arms down and back up the body without letting the harp fall over, and without squeezing it too hard.

Remember: the harp is not to be held strongly, but rather firmly, with gentleness; hold it as you would hold your lover.

Do not try to achieve the staggering amount of music that the modern Concert Harpist puts out. It can be done, by an expert, but to be sparing, keeping the music plain and simple, but rippling like the waves of the Ocean that touches Tir an n'Og, is more in keeping with the style of the Celtic instrument.

SHAKES, RATTLES AND ROLLS:

The basic right-hand motion is the "roll," whether backwards or forwards. With the harp in "C," place the third finger of your right hand on the 5th string of the octave, the index finger on the 3rd string of the octave, and the thumb on the 1st, or key-tone.

Now, pluck, gently, the strings in the order: 5-3-1; third finger first, then index, then thumb. (3-i-t) If you do this fairly slowly, you play an arpeggio. Quickly, and it's a single chord, of the style termed a "shake" by the old harpers. (Simultaneously is OK too.)

3-i-t (3-i-t) arpeggio: 1-3-5 chord: (1-3-5)

This is the backwards Roll. If you reverse this, and start the roll with your thumb, it is a forward Roll. Most of the old harpers, to the best of our current knowledge, used the forward Roll in preference over the backward. These are the BASIC moves that almost all advanced technique is built on.

PRACTICE BOTH THESE MOVES, BOTH WITH THE HARP, AND WITHOUT IT.

Notice that this is a different technique than the 3-finger and thumb used by modern harpists....we are not playing Concert Harp, but, rather, Celtic Harp. The techniques are most emphatically NOT the same! We will be using 3-finger-and-thumb in some advanced styles (where do you think the Concert Harpists got it?) but these are basic techniques for simple harping.

These rolls and shakes give you the chordal accompaniment, and also may be used for rhythmic emphasis.



When you have this move nice and smooth, try picking out a melody on single strings with your left thumb, on the higher octaves.

Now make your right hand play one string, the lowest tone in the chord, with your third finger, on the first count of the measure, and "pinch" the two remaining strings (the middle and highest of the chord) on the second count, with your thumb and second or index finger(s) (in 2/4 or 4/4 time) or pinch on the second and third count of the measure in 3/4 time.

t (i-3) t (i-3) (i-3) 5 (1-3) (4/4 time) or 5 (1-3) (1-3) (3/4 time)

You may do the same with the middle tone of the triad played first, and the lowest and highest played together.

i (t-3) i (t-3) (t-3) 3 (1-5) (4/4 time) or 3 (1-5) (1-5) (3/4 time)

These last give a STRONG rhythm background.

Practice all this until your fingers bleed. Don't bleed on the harp.

HARMONIES AND SUCH LIKE:

The left hand may play harmonies by plucking, in the technique called pinching, both the melody tone AND another, harmony, tone. This harmony tone may be the third tone higher/lower than the melody tone, in major scales, or, in modes, you may harmonize with the fifth or fourth higher/lower. Experiment! Use your thumb, and whatever finger is nearest the needed tone.

i-t i-t 4-t 4-t 3-t 3-t (1-3) (2-5) (1-4) (2-6) (1-5) (2-7)

PRACTICE THIS LEFT HAND PINCH, BOTH WITH AND WITHOUT THE HARP!

If you are using a wire-strung harp, play with your fingernails as much as possible, and pick gently! If you are using gut or nylon, grab the strings with your fingertips (JUST the tips!) and pluck them with some force. (If you use force on brass harp strings, you will either knock them out of tune, or break them.) If you don't have nails, and you have a wire-strung harp, go ahead and use your fingertips, but, like the Maid said to the Cavalier: "Be gentle!"

FANCY STUFF:

Try playing the chord with your right hand, someplace in the middle octave of strings, playing a harmony with your left hand in the higher octaves, and then reaching to the bass, the lowest octaves, with your LEFT hand, on the off/on beats....kind of like patting your head and rubbing your tummy at the same time, but, once learned, this is a magnificent effect on the larger harps.

If you barely touch the string, with your left hand, exactly one-half way down it, and pluck it with your right hand, and immediately withdraw your left hand finger, you will get a clear, ringing one octave higher than the tone the string is tuned to. This is called an "harmonic." It sounds much like bells ringing, and is quite beautiful for special effects.

PERIOD LICKS AND FOOTSTOMPERS:

The following are, as best we know, period Irish harp techniques. They are noted for a harp in "C," except for



the Lanchrobh. Irish Gaelic names are attached. These were written down in the Eighteenth century, but are very likely to be of earlier origin.

Each set of symbols represents one measure in 4/4 time.

Key to symbols used: t: thumb plays this tone i: index finger plays this tone 2: middle finger plays this tone 3: third finger plays this tone Capital letters denote tones. Hyphenated tones are played in sucession. Chords are indicated: (C-E-G) when tones are played simultaneously.

GRACES: Brisidh (a break): played alternating thumb and index finger on successive strings like so: t i t i t i t i t i C-B B-A F-E E-D B-A (the string played by the thumb is immediately damped, or stopped.) Bulladh Suas No Suaserigh: (a sucession of triplets): 3 2 i 3 2 i 3 2 i 3 2 i D-E-F F-G-A A-B-C C-D-E etc another kind of roll that uses only the fingers, i-2-3, to produce the three-tone sound in a different manner. Leagadh Anuas (a falling): i t i t i t i t i t A-B C-D F-G C-D F-G (all in same octave) is the same as Brisidh, but reversed; the string played by the index finger is stopped by the thumb and the thumb string is left sounding. Leath Leaguidh (a half-falling): 2 3 2 3 2 3 2 3 E-D A-G C-B D-C the string played by the second is stopped by the first, and the string played by the third is stopped by the second. Sruith-Mor (a great stream ascending): an upwards arpeggio over all strings. Usually done by dragging the index finger



upwards over the strings. Sruith-Mor (a great stream descending): a downwards arpeggio over all strings. Usually done by dragging the thumb downwards over the strings. Sruith-Beg (a little stream): t i 2 3 t i 2 3 t i 2 3 C-B-A-G D-C-B-A E-D-C-B etc.

SHAKES, AND SO FORTH: 2 i 3 i 2 i 3 i Barluith (activity of the fingers): F-G-F-G F-G-F-G Barluith-beal-an-airdhe (activity of the finger-ends): 2 i 3 i 2 i 3 i 2 i 3 i D-E-D-E B-C-B-C A-B-A-B (the string struck by the 3rd finger is damped by the second finger, 1st string still sounding) Barluith Fosgalta (activity of finger-tops): 2 i 3 2 i 3 2 i 3 2 i 3 E-G-E F-A-F B-D-B A-C-A (second finger string damped by first, first finger string still sounding) Casluith (returning actively): 3 i 2 3 i 2 3 i 2 3 i 2 F-A-G B-D-C G-B-A A-C-B (strings instantly damped) Crothachan mhear (shaking): a rapid tremelo on one string by the first finger. Cul-aithris (half shake): i t i i t i i t i F-G-F G-A-G D-E-D Tribuilleach (Creathadh Coimhmhear) (triple shake): 2 i 3 i 2 i 3 i 2 i 3 i F-G-F-G F-G-F-G F-G-F-G

DOUBLE TONES, CHORDS AND SUCH: For The Left Hand: Bulsgan (swelling out): third harmonies played on two strings.



Glass (joining): fourth harmonies played on two strings. For The Right Hand: Cennanchruich (extremity of the hand): i 2 3 i 2 3 i 2 3 i 2 3 G-E-D (G-E-D) C-A-E (C-A-E) Glass (joining): octaves played by thumb and third finger. Glasluith (quick locking): t i 3 t i 3 E-C-E (E-C-E) Laghar (spread hand): octaves played by the first and third fingers. Lagharlair (middle of the hand): third harmonies played with first and second fingers. Lanchrobh (full hand): t i 2 3 t i 2 3 t i 2 3 t i 2 3 G-E-B-E (G-E-B-E) D sharp-B-F-C (D sharp-B-F-C) Malart Phonoch (reverse the hand): to cross the hands, the right playing the left hand's part, and the left playing the right hand's part. Taobhcrobh (side hand): t 3 2 t 3 2 t 3 2 t 3 2 F-B-E (F-B-E) E-G-C (E-G-C)

Variations of all of these should give you enough of a repetoire of movements to amaze anybody. PRACTICE THEM UNTIL YOU HURT, because you must have them learned smoothly enough to do them in your sleep.

*

Well, this should, at least, get you started. I cannot pretend to be able to teach all the tricks, but what I have set down here should serve you as a nice reference, and as a beginning Celtic harp manual.

Good Luck!

Joe Bethancourt White Tree Productions PO Box 35190 Phoenix AZ 85069

You may link to this article without asking my permission. Just let me know you did it.

��

© Copyright 1976, 1989, 1990, 1996, 1997 W. J. Bethancourt IIIAll Rights Reserved





THE INEVITABLE KILLER APPENDIX OF GENERAL INFORMATION:

Last Update: 01/25/98 When this manual was originally published, in 1976, there were two makers listed, and no retail outlets known. Boy, how times have gotten better!

* WHERE TO BUY HARPS: Instrument Makers: Tucson Folk Shop Ogham Harps Leo Folk Harps Ballygriffin, Kenmare 415 N 4th Ave Co. Kerry, Eire Tucson, AZ Boulder Early Music Shop Walton's Galleries 2010 Fourteenth St 2,3,4 & 5 N Fredrick St Boulder. CO Dublin 1, Eire 80302 Caswell Harps Triplett Harps Box 1339 2220 Suburban Rd Suite B Forestville, CA San Luis Obispo, CA 95436 93401 Witcher Harps Dragonwhispers Box 1033 Box 211 Houlton, ME Mt. Laguna, CA 04730 92048 Dusty Strings John Yule 3406 Fremont Ave No. Camethy Cottage Seattle, WA Silverburn, Penicuik 98103 Midlothian EH26 9LQ Scotland Antique Sound Workshop Ltd Aoyama Harp 1080 Beacon St 282 Stepstone Hill Brookline, MA Guilford, CT 02146 06437 Salvi Daphne Hallelujah Harps 168 N Ogden Ave 1473 Acequia Barrada W. Chicago, IL Santa Fe, New Mex. 60607 87501 Heartland Strings Hummingbird Instruments 2692 Boston Rd 212 Wayne NW Woodville, WI Albuquerque. NM 54028 87114 Nial Imbusch Magical Strings 13 Woodlawn Dr Box 4086 Dooradoyle Seattle, WA



Limerick, Eire 98104 Markwood Clive Morley 1250 NE 5th St Goodfellows Farm Bend, OR Filkins Nr Lechlade 97701 Gloucestershire GR7 3JG England James Rydecki Sandpiper Folk Harps Box 1093 Box 29218 Meadow Vista. CA San Diego, CA 95722 92129 Two Sisters Woodsong Box 5703 1840 Acacia Dr Athens, OH Box 3955 45701 Estes Park, CO 80517 Wold Song Box AD Panorama City. CA 91412-1030 WHERE TO BUY HARP CASES: Many of the listed manufacturers and retail oulets offer cases. The best cases available, however, are padded "gig-bag" affairs of nylon Cordura from: Colorado Cases - soft cases and case covers for any musical instrument 406 Garfield St., Fort Collins, CO 80524 USA (800) 340-0809 or (970) 221-5714 [email protected] http://www.ColoradoCase.com WHERE TO BUY HARPS: Retail outlets: Lark In The Morning Folkcraft PO Box 1176 Box 807 Mendocino, CA Winstead. CT 95460 06098 Folk Mote Music Grenadier Music 1034 Santa Barbara St Box 1128 Santa Barbara, CA Seneca. SC 93101 29678 Harp And Dragon In The Tradition 25 Madison St Box 223 Cortland, NY Deer Isle, ME 13045 04627 Loveland Harps Lyon & Healey Box 1101 168 N Ogden Ave Loveland, CO Chicago, IL 80539 60607 Pantile Press Robinson's Harp Shop 2525 Eastside Ln Box 161 Houston, TX Mt Laguna. CA 77019 92048



Paradise Music Sue Richards 556 Paradise Ln 612 E Linfield Dr Edmunds. WA Rockville. MD 98020 20852 Sylvia Woods Harp Center The better Irish and Scots Box 29521 import shops sometimes Los Angeles. CA have harps available. 90029

SOURCES ON THE NET

� Allen Tefft, Celtic Harpmaker and Psalteries � Blevins Harps � Boulder Early Music Shop � Celestial Wind � Clive Morley Harps Ltd � Denwar Harps � Fellowship of Makers & Repairers of Historical Instruments � Gary Stone Harps � Hanneke Harps � Harrari Harps - Home Page � Harpland Music � Heartland Harps � Hidden Valley Harps � Karen Rokos Harp Services � Lark in the Morning � Lionwood Harps � Lyon & Healy � MusicMakers Kits Inc. Home Page � Philippe S.R.L. Clement Harps � Sylvia Woods Harp Center � Triplett Harps � Vanderbilt Music Company, Inc. � W & W Musical Inst. Co. � Harp Mailing List FAQ (with listing of makers!) � More Harp History

WHERE TO BUY BOOKS, RECORDS AND WRITTEN MUSIC: Elderly Instruments Lark In The Morning (free catalogs) (see: Where To Buy Harps) 1100 W Washington PO Box 14210 Boulder Early Music Shop E Lansing, MI 48901 (see: Where To Buy Harps) (517) 372-7890 If your city has an Irish or Scottish imports shop, check there!

GOOD BOOKS TO HAVE:

About Harps:

� FOLK HARPS



Gildas Jaffrennou; Model and Allied Publications Ltd. 1973 (how to build them yourself!) � THE IRISH AND HIGHLAND HARPS R. B. Armstrong; Edinburgh, 1904 Facsimile edition: Praeger 1969 LCCCN: 74-96769 (sell your first-born child for this book!) � "How To Buy A Harp" FRETS (period.) June 1989 (Vol. 11 No. 6) 20085 Stevens Creek Cupertino, CA 95014 � ANNALS OF THE IRISH HARPERS C. Fox; Dutton � AN HISTORICAL ENQUIRY - HARP IN THE HIGHLANDS OF SCOTLAND Gunn; Constable � HISTORY OF THE HARP J. Thomas; Hutchings & Rosner � THE WELSH HARPER J. Parry; D'Almaie & Co. About Songs:

� THE ENGLISH AND SCOTTISH POPULAR BALLADS Francis James Child; (five volumes) Dover, 1965 (the basic text for song lyrics) � THE SINGING TRADITION OF CHILD'S POPULAR BALLADS Bertrand Harris Bronson; Princeton University Press 1976 (contains an excellent discussion of modes!) � ISFHC 4718 Maychelle Dr Anaheim, CA 92807-3040 (714) 998-5717 General Reference and Reading:

� THE WHITE GODDESS Robert Graves; Farrar, Straus and Giroux 1966 LCCCN: 48-8257 � OGHAM: THE POET'S SECRET Sean O Boyle; Gilbert Dalton, Dublin, 1980

These are only BASIC references....there are LOTS more available, these days.



GOOD RECORDINGS TO HAVE:

� Everything by the Chieftains (General Irish music, done RIGHT!) � Everything by Derek Bell (Mostly Neo-Celtic) � Everything by Alan Stivell (Neo-Celtic and Celtic) � Anything by Platero (South American harp styles. VERY good!) � Everything by Silvia Wood (Neo-Celtic) � Any recording of the music of Turlough O'Carolan � Anything by Andreas Vollenweider (Eclectic stylist; VERY good!) � Everything by Robin Williamson (GOOD stuff!) � Anything by Ann Heymann (Celtic Harp) � Anything by Patrick Ball (Celtic Harp) � Anything by Mary O'Hara (modern harpist)

There has been quite a proliferation of harp recordings since the first edition of this manual! Look around, and enjoy their availability! What are listed above are only my own personal favourites.......there are, undoubtedly, very many more.

A good place to find harp recordings is at Renaissance Faires, and at events of the SCA. (Society for Creative Anachronism, Inc.)

RELATED RECORDINGS: sources for material:

� Anything by Steeleye Span � Anything by Silly Wizard � Anything by Ewan MacColl

especially: "The English and Scottish Popular Ballads" (nine record set) Washington WLP 715 thru WLP 723

� Elena Polonska & La Camerata "Harp Music From the Middle Ages" Candide QCE 31083

And, if you haven't bought my own related album yet: "Celtic Circle Dance"

A SHORT GLOSSARY OF MUSICAL TERMS TO HELP EVEN THE MOST MENTALLY INCOMPETENT NORSEMAN FIND HIS WAY IN THIS SO-CALLED E-Z METHOD BOOK, EVEN WITHOUT A CAVALIER TO READ IT TO HIM:

� sharp: one-half tone higher � flat: one-half tone lower � bass: the low tones � chord: a harmonious arrangement of two or more tones played at the same time. Three tones is the

average. � dominant: the chord that is built from the 5th tone of the scale; the V chord. � generic: general; common; class name. � note: see "tone" � scale: the word means "ladder," and in music it expresses the idea of a sequence of tones contained in one

octave arranged stepwise, and shown by an alphabetical arrangement of letters denoting the tones used. � soundbox: that part of the harp which is hollow from which the strings emerge. � soundboard: the top of the soundbox; the harp's resonating surface. � sub-dominant: the chord that is built from the 4th tone of the scale; the IV chord. � table: see "soundboard."



� tone: a "note" is written on paper to signify a sound called a "tone." � tonic: the chord that is built from the first tone of the scale; the I chord. � treble: the high tones.

IRISH GAELIC TERMS FOR HARP MUSIC:

TIME:

� Crudhchlesach: "bold, heroic" (4/4 time) � Cuigrath: "dirge" (lamentations with words) � Cumhadth: "lamentation" (lamentation without words) � Phurt: "lessons"

Na Phurt: introductory passage; tuning prelude. Phonck: reversing the hands: right hand plays treble and left hand the bass.

� Trebuhuinneach: "triply rapid" (jig time)

MOOD:

� Alhbhan-Trirech: the three moods of music. � Genanttraidheacht: Love, graceful and expressive music. � Gollttraidheacht: Sorrow, melancholy music. � Luinneach: Joy, happy music. � Suanttraideacht: Sleep, soothing music.

KEYS:

� Fuigheall-Beg: "lesser sound;" the key of "C" � Fuigheall-Mor: "greater sound;" the key of "C sharp" � Leath Glass: "half note;" the key of "G" � Uan Fuigheall: "single sound;" the key of "G"

ON BARDS, AND BARDIC CIRCLES:

In the SCA, in written Fantasy, in too many instances the word "bard" seems to be bandied about in a rather loose manner, being applied indiscriminately to true Bards, trouveres, troubadors, jongleurs, poets, playwrights, actors...in short, anyone who entertains.

I hope to clear up this misconception, though to hope that the usage of the word will be corrected may be a forlorn hope....

Bards are found in Celtic cultures (Ireland, Scotland, Wales, Manx and Brittany) and a rough equivalent can be found in Norse culture, too, where they were known as "scops" or "scalds."

There are also several other cultures that had an equivalent of the Bard, tho space forbids us from going into that.

In Ireland, the use of the word "Bard" apparently fell into some disrepute, as the records we have show that the Bard was simply a minor poet, while the "filidh" (seer) or the "ollave" (master poet) occupied the former status and functions of the Bard.



The same, apparently, applied to Scotland, where the Harp was eventually superseded by the fiddle.

In Wales, the Bard was not so lucky. There, the traditions ossified, and the Bards, after the advent of Christianity, became Court Poets, known as "Gogynfeirdd," or "Prydydd," limited in subject matter and form, and with rigidly structured rules.

The word that corresponds with the irish "filidh," in Welsh, would be "derwydd," (oak-seer) the word from which "druid" is derived.

The "hedge-Bards" were the ones that carried on the real traditions of the Bard. These are the people that gave us the "Cad Goddeu" and the "Hanes Taliesin," and who may have passed the "Matter of Britain" on to the French troubadors and trouveres, thus giving us Arthur and Camelot.

The word "Bard," in Wales, denoted a master-poet. In Ireland it meant a poet who was not an Ollave, one who had not taken all the formal training. Apparently even the lower-status Irish Bard was on a level with the Welsh Bard in knowledge and poetic education, however, and these were what I have termed "hedge-bards," above.

In the Celtic cultures, the Bard/Filidh/Ollave was inviolate. He could travel anywhere, say anything, and perform when and where he pleased. The reason for this was, of course, that he was the bearer of news and the carrier of messages, and, if he was harmed, then nobody found out what was happening over the next hill. In addition, he carried the Custom of the country as memorized verses...he could be consulted in cases of Customary (Common) Law. He was, therefore, quite a valuble repository of cultural information, news, and entertainment.

A true Bard must know the following: music (and the playing of a period instrument, preferably Harp), poetry (original, and other people's), song (original and other people's), the History, Law and Custom of his/her religion, as much knowledge of modern and medieval history, Law, and custom as they can possibly learn, and at least a very basic knowledge of linguistics and alphabet/cyphers. Some training in Folklore, and in the art of Sociology would help, too. See the list of suggested College courses at the end of this book.

They must also have other, more esoteric knowledge, and capabilities, relating to what is talked about in Robert Graves' book, "The White Goddess." If you wish to explore further in this matter, read the above named book, and then contact me thru the address given. Remember that this book is written more as poetic metaphor than as "hard" scholarship, however, but if you see thru the Lapwing, you will understand.

The Bard should investigate the "Matter of Britain" very thoroughly, paying special attention to Sir Gawain, and to Arthur's Queen. Do a little reading in the Robin Hood cycle, too, with special attention to the village festivals in Britain that mention him.

Some Bards are "titled," that is, someone, be it another Bard, or whoever, or sometimes (very seldom) the Bard himself, has given them a bardic "name" or "title," that serves to identify them. Thusly, I am known as "y bardd Gwyn," "Baird Ban," or "the Whyte Bard." Another was known as "Derwydd Prydain," while even another has no title at all, and does not want one. Be wary of taking such a title yourself. Allow the giving of such to happen on its' own, and do NOT take it from a King of any kind!

Each individual Bard will have certain perogatives that they have developed over the years. I, myself, tend to interrupt a Coronation court (in the SCA) at any time with a poem, or a song, relating to the event. Other Bards will have other perogatives. Don't try to set yourself up with these; let them happen naturally.

ON MUSIC AND SONGWRITING:

Every so often, one hears a self-important "scholar" say something along the lines of: "Well, you have only written new words, or parodied the words, to a common tune....this is NOT real songwriting, but simply "filk" (as termed in the Science Fiction sub- culture) songs."



Tell them to sit on it. This is, and was, an accepted thing to do, is quite legitimate, and very authentic.

Just try to keep the general "sound" as Medieval/Renaissance as possible...admittedly a bit difficult when you are stealing ** ah ** adapting a rock and roll melody, but it CAN be done....and please encourage others to do the same.

ON BARDIC CIRCLES:

A Bardic Circle is, simply, a setting for the listeners to entertain each other. This can be with poetry, song, and stories. All should participate, though it is not necessary for all to contribute to make it a fun thing to do. What IS necessary is that the number of things done by each person at any one time be limited, to keep the inevitable "stage-hog" from monopolizing the evening, and to keep the "Awful No-Talent Stage Hog" from running everyone off.

I recommend that each person be limited to TWO songs, poems or whatever at a time, and then pass on to the next singer. This keeps it varigated, and interesting, and gives EVERYONE a chance to contribute.

Try to keep discussion to a minimum, but, should it be interesting, let it go on for a while, as a break in the music. In any event, try to do something different about every hour or so, to allow your listeners to stretch, use the bathroom, get refreshments, and gossip for a while. This will keep them there longer, and add more fun to the occasion.

SUGGESTED COLLEGE LEVEL COURSES:

� Basic and Advanced Folklore of the Appalachian and Ozark mountains of the USA � Basic and Advanced Folklore of the British Isles � Music History (100 and 200 levels) � Anything else in the Music curriculum that relates to Medieval music � Comparative Religions � Basic Sociology (100 and 200 levels at least) (watch out here! This is an "art," not a "science!") � Linguistics � Medieval History (100 thru Graduate levels) � Medieval Law (100 thru 400 levels) � English Writing � The Literature of England (Ireland, Wales, Britanny, Scotland etc.) � Poetry � Fencing or other formal Martial Art � Theater � And ANYTHING else that might possibly relate and/or help.

I also suggest that you learn how to work two excellent rhythm instruments: the Bodhran, or Irish hand-drum, and the Bones. There are some songs that are just not suitable for the delicacy of the Harp, and these two instruments will fill that gap.

The other instrument that is useful is the Octave Mandolin (also known as Irish Bouzouki or Irish Cittern.) These are fun, and quite easily played.

OGHAM * Irish inscriptory writing * ____________________________ I II III IIII IIIII



B L F S N ___I__II__III__IIII__IIIII__ H D T C QU ___/__//___///___////____/////______________\/_______ / // /// //// ///// /\ M G NG ST R P _________.__..__...___....____.....______ stone or wood vowels A O U E I ____I__II___III___IIII___IIIII___________ manuscript vowels I II III IIII IIIII A O U E I ____\__\\___\\\___\\\\___\\\\\___________ extra letters for \ \\ \\\ \\\\ \\\\\ English usage K V W Y Z The central line denotes, in manuscript, a drawn line, and in stone or wood, the line formed by a corner or edge. Sample: literally spelled "Locksley:" .. IIII \ IIII \\\\ II \ IIII II IIII \\\\ phonetically spelled (better way) "Locksley:" .. \ \\\\ II \ IIII II \\\\ in actual period usage, Ogham was written and read from right to left, much like Arabic, thus, a more "period-correct" would be: \\\\ \ .. \\\\ II IIII \ II *

Every Ogham Thing on the Web!

GOOD LINKS ON THE NET

BARDS � Bard � What is a Bard? � Notes from a Bard and Bender � Rowanhold Bardic Circle � Bardic Page (SCA) � Musick, Bardcraft, Misunderstood Aphorisms



HARPS

� Harp Listserver Address HARP-L sub listserv@wkuvx1 � The Sadness in the Music of the Harp � H.M. - Harp & Clarsach � Harp related storys � Gayle's Harp Home Page � Harp Home Page � Celtic Music Home Page � Harp FAQ � Historical Harp Society Home Page � Harp Home Page of the Harpers Hall & Culinary Society � Beginner's Guide to Amplifying Harps � Harp Therapy Journal � European Harp Page � Lesley Henneberger's Turlough Carolan Page � Turlough O'Carolan: Irish Harper � Trad@HarpSite for Traditional Harp, Ireland � American Harp Page � Celtic Cultures � Folk Mote Music � Harper's Escape � Sibelius Academy � West African Harps � The Historical Method of the Celtic Harp & the Celtic Harp at Stonehenge � Starfish Home Page (celtic harps and electric bowed instruments) � Deborah Henson-Conant Page � Loreena McKennitt Home Page (by Aaron McMahon) � Alan Stivel Page � Andreas Vollenweider Home Page � Bud Wertheim � Celtic Music Mail Order List (Ceolas) � Celtic Marketplace � Celtic Music on the Internet � Ceolas The largest collection of celtic music information available on the Internet � Clannad lyrics � Festival of Lorient

A final note: Don't use your harp for slicing cheese. It makes the strings soggy.



Documents

How to Play the Celtic Harp