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 SASSENACH FIND HIS WAY IN THIS SO-CALLED E-Z METHOD
BOOK, EVEN WITHOUT A CELT 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.

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"

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

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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:

• 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

                                   *