When this manual was originally published, in 1976, there were two makers listed, and no retail outlets known. Boy, how times have gotten better!
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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:
INSTRUMENT CLOTHIERS the Tucson Folk Shop also
6326 Ranier Ave South offers a nice case, as does
Seattle, WA Lark In The Morning. See above
98118 and below for adresses.
(206) 723-9808
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
253 Cambridge Drive 612 E Linfield Dr
Longwood, Florida 32779 Rockville. MD
407-862-2945 20852
Sylvia Woods Harp Center The better Irish and Scots
Box 29521 import shops sometimes
Los Angeles. CA have harps available.
90029
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!
These are only BASIC references....there are LOTS more available, these days.
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.)
And, if you haven't bought my own related album yet: "Celtic Circle Dance"
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 me. 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 White 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:
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
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